There are three categories of people based on their reactions to Harmony Korine's latest film and future cult classic, Spring Breakers: those that loved its chaotic storytelling and dark themes, those that asked "what the hell was that about?," and those that have never even heard of the film. I am leading the charge of the first type; I was enthralled by the filming techniques, ambiance, and downward spiral into madness. This was a film that stayed with me several days after, and I have done a lot of pontificating on the internet about it. I've read and mulled over several theories including a feminist interpretation of the loss of innocence, a parallel to the Greek myth of the Manaed, and an ode to the decay of civilization. Then again, when I love a film, I want to read about it like crazy.
Now that Spring Breakers has officially made is mark on our cultural lexicon, and is very likely to inspire many Halloween costumes this year, it's worth noting that this is writer/director Harmony Korine's most conventional attempt at film making in his career. Conventional in the sense that there is a linear narrative and characters have a place in the real world (well, in the first half of the film, anyway). Certainly, as compared to mainstream movies and box office top fives, it is anything but Harmony Korine has never been concerned with "typical" storytelling in his films, and ostensibly doesn't seem to care about critical praise. Perhaps enjoying Spring Breakers has prompted you to check out Korine's earlier films. I feel it is my duty to help you through this journey, because you could really tread in some bizarre territory.
Kids (1995)
Kids is Korine's first film and probably best known although it's been seventeen years since its release. Nineteen-year-old Korine penned the screenplay about a day in the life of teenagers living in New York City. They drink, have lots of unprotected sex, smoke, fight, steal, get diagnosed as HIV positive, and prey on deflowering young virgins. Kids made an impact for two major reasons: one, it showed teenagers actually doing those things, which made the MPAA award the dreaded NC-17 rating. Okay, fine, that was to be expected.
Secondly, independent films were not as easily accessed by your average moviegoer and unconventional filming techniques and storytelling were not often seen in mainstream films. Kids does have a story and a plot, but the film was largely a collection of uncut vignettes about various interactions and behaviors. The lack of editing provided a "I dare you to watch" type of vibe, because there was a lot that was uncomfortable but the action continues well after the point of first discomfort. For instance, there is a violent brawl in Washington Square Park that seems to never end. (Ten years later, I attended graduate school at NYU and thought of that scene when I walked through the park daily.)
