Bait an Oscar
Author: George
From: Atlanta
Title: Strange Peaches
Directed by: Richard Linklater
Written by: Richard Linklater (from the novel by Bud Shrake)
Cinematography: Lee Daniel
Editor: Sandra Adair
Art Director: Anne Seibel
Cast:
Garret Hedlund as John Lee Wallace
Zoe Kazan as Dorothy
Victor Rasuk as Buster
Ashley Benson as Jingo
Ben Chaplin as Franklin
Abbie Cornish as Geraldine
Corey Stoll as Erwin
Patrick Fischler as Feldman
Phyllis Somerville as Mother Wallace
Chelcie Ross as Father Wallace
Joe Inscoe as Colonel Burnett
With
Ned Beatty as Big Earl
And
Jack Black as Jack Ruby
Tagline: “Looking for a good time? Come on down to Dallas, there’s no better place to be in 1963…”
Synopsis:
John Lee Wallace downed two Bennies before he opened the door to his living room. There was no way he could function without some kind of chemical stimulant after the night he had endured. Buster was lying on the ground with two girls, $100 bills lying all around. Franklin was already pouring himself a drink, Colonel Burnett was on the balcony. He told John Lee about why the Kennedys were ruining America, a potential dynasty that would make the United States a safe haven for Commies and Fascists simultaneously. John Lee listened although he didn’t much care.
It was October, but everyone was already planning for President Kennedy’s arrival in Dallas a month and a half away. Franklin was somehow involved in all the plans and his father had given him his mansion downtown to “prepare”. Another party was planned next week and everybody would be there. John Lee walked out into the street and heard the same thing every time: something about his long hair and mustache or asking for autographs.
His agent, Feldman, called him asking if he really planned on quitting Six Guns Across Texas, the hollow western TV show that had quickly propelled him to stardom. John Lee almost forgot that he had said he would return to Dallas to make a “real” film about Texas and quit his show. Whether it was for being a Cowboy or being Tarzan (in one movie), he couldn’t helped but be noticed by the whole city.
He called Dorothy to be his date for his time here, a former sweetheart who was now 21. She just called saying her mother had attempted suicide and apparently he was the only one that could help her. His ex-wife, Geraldine, was also about to move to San Diego with her new husband, but John Lee wanted to see his daughter before he left. Sure enough she was seeing his Tarzan movie at the theater with John Lee trying to tell a patron how easy it was to be different people now that it was his job.
Big Earl, an eccentric millionaire (is there any other kind?), had gotten wind of John Lee’s film venture and told him and Buster (his cinematographer) that he was going to invest $2 million in it, as long as John Lee was able to maintain their telepathic connection. Although, Big Earl couldn’t seem to distinguish John Lee from his TV character, John Lee didn’t bother to correct him.
Jack Ruby called the apartment one day berating John Lee for harboring his most valued stripper Jingo. Jingo had been hiding out there with Buster growing their weed and rolling Torpedoes without anyone noticing. When John Lee came to the Carousel Club, the bar Ruby owned, he saw him clock a DJ who was strapped for cash before downing two drinks. His prolonged fights with Jingo didn’t stop her from putting on a great show even when childhood friend Erwin decided to surprise John Lee with an offer about smuggling some guns to Mexico. He wrote down the figures on a napkin and handed them to John Lee before heading out.
John Lee’s parents were particularly thrilled to see him, it had been so long. His mother scolded John Lee for being in such violent projects while his father took them out to his old farm and informed John Lee about his fights and trials there. John Lee couldn’t help but feel a twinge of nostalgia and gratitude toward his father.
All the while John Lee and Buster had been shooting film and Dorothy had been accompanying him around. This film they were making had saved him from the brink of suicide and gave him a way to see past the artifice of the lifestyle he had chosen. After confiding this in Dorothy, she goes into agony and is taken to the hospital.
The next morning, John Lee discovers she had a baby that isn’t his. She sobs about giving him away and John Lee clumsily tries to comfort her, but only for a while because he and Buster have to go shoot the president. Once they are there, John Lee picks up the camera and is able to lock eyes with Kennedy, the President pointing a finger and winking at him and his camera. For a short time, John Lee sees the meaning of his work, the importance of his home, and what the film could be. But just a few moments after, the pops are heard and the President has been shot.
He and Buster get the press credentials in order see Oswald in the jail with Ruby there as well. Surprised, Ruby says he always knows what’s going on when Buster asks him and screams bloody murder at Oswald. John Lee tries to get into Parkland to see Dorothy but the President and his entourage are still there and sealed the whole place up. Less than three hours later, Kennedy is pronounced dead.
Later, John Lee goes to Big Earl’s house for him and Franklin to talk about his movie, the two assuring John Lee that none of these events can actually be in his finished movie if he intends to have their funding. With the news on, John Lee sees Ruby pass right by Buster and Colonel Burnett and shoot Oswald dead. Stunned, Franklin asks why. John Lee can only respond that Ruby would have killed someone eventually.
Back at his apartment, Buster has developed the film of both shootings and Jingo rolls up a joint for herself and John Lee. She tenderly asks him to come to Rome with her to get away from this crumbling city and backwards state. He can’t and she understandably leaves. He gets a call from Feldman saying that the TV show will have to go on hiatus, somehow “guns” and “Texas” isn’t exactly resonating with viewers. Soon after, the cops bust in arresting Buster for drug dealing and destroying their film in the process.
John Lee visits Dorothy to tell her about what’s happened and she resolves that they should go to Mexico. With all of his friends gone, John Lee sees no reason not too, but goes to the airport and gets on a plane without her. Numb, tired, and unable to concentrate, he looks for a cigarette but finds only Erwin’s drug numbers. He contemplates them and then hears two kids pretending to shoot him from across the aisle, recognizing him. John Lee can’t move and looks wearily out the window…
Awards Campaign:
It is only fitting that Richard Linklater, the man who put Texas on the map as an independent film hub with Slacker in the early 90’s, would craft a film of Edwin “Bud” Shrake’s Texas classic Strange Peaches. Filled with talky and political characters that monologue their way into our ears about various topics, it seems as if Linklater is able to transfer the sprawling source material and truncate into a powerful representation of Dallas in the early 60’s.
The anchor of this is John Lee Wallace, whose disillusionment and jadedness have all but stunted his ability to feel. Garret Hedlund proves to be more than a pretty face, with an intense and subtle performance that suggests tragedy in every glance and growth in every scene. This maybe the most existentially conflicted American character since Bobby Dupea in Five Easy Pieces and Hedlund does little to take the edge off of a frustrating, but deeply compelling anti-hero.
The supporting cast is also fantastic. Zoe Kazan shows more range than we would have thought possible as the long-suffering Dorothy, and Ashley Benson is refreshingly raw and uncompromising as the amoral Jingo. Victor Rasuk gives needed comedy to the proceedings, and veterans Phyllis Somerville and Chelcie Ross give a good dose of humanity to our distant protagonist.
However, it is Ned Beatty and especially Jack Black that leave the biggest impression from the supporting cast. Beatty plays this deceptively smart billionaire with a touch of old Hollywood charm and his presence is felt even more so when he’s off-screen. But Black, playing the alcoholic, pill-popping, perverted Jack Ruby is as hysterical as he is dangerous. Linklater has proved before what he can do with Black, but here he transforms him into a believable killer: something we never could have foreseen.
The real star here though is Linklater, not only for taking the revered and sprawling source material to the screen, but keeping its philosophical core. John Lee Wallace is staring into the heart of darkness, and the staging of the Kennedy Assassination is without question, the best set piece the director has every accomplished. Using it to simultaneously inspire hope and pain, the conflicting feelings in John Lee quickly become our own. Strange Peaches is a tremendous achievement, almost like Robert Altman doing the Kennedy Assassination. The historical context is beautifully constructed as well as the philosophical dilemmas Hedlund articulates. One of the best movies of the year.
FYC:
Best Picture Best Director (Richard Linklater)
Best Actor (Garrett Hedlund) Best Adapted Screenplay (Richard Linklater)
Best Actress (Zoe Kazan) Best Cinematography
Best Supporting Actor (Jack Black) Best Editing
Best Supporting Actress (Ashley Benson) Best Production Design
Author: George
From: Atlanta
Title: Strange Peaches
Directed by: Richard Linklater
Written by: Richard Linklater (from the novel by Bud Shrake)
Cinematography: Lee Daniel
Editor: Sandra Adair
Art Director: Anne Seibel
Cast:
Garret Hedlund as John Lee Wallace
Zoe Kazan as Dorothy
Victor Rasuk as Buster
Ashley Benson as Jingo
Ben Chaplin as Franklin
Abbie Cornish as Geraldine
Corey Stoll as Erwin
Patrick Fischler as Feldman
Phyllis Somerville as Mother Wallace
Chelcie Ross as Father Wallace
Joe Inscoe as Colonel Burnett
With
Ned Beatty as Big Earl
And
Jack Black as Jack Ruby
Tagline: “Looking for a good time? Come on down to Dallas, there’s no better place to be in 1963…”
Synopsis:
John Lee Wallace downed two Bennies before he opened the door to his living room. There was no way he could function without some kind of chemical stimulant after the night he had endured. Buster was lying on the ground with two girls, $100 bills lying all around. Franklin was already pouring himself a drink, Colonel Burnett was on the balcony. He told John Lee about why the Kennedys were ruining America, a potential dynasty that would make the United States a safe haven for Commies and Fascists simultaneously. John Lee listened although he didn’t much care.
It was October, but everyone was already planning for President Kennedy’s arrival in Dallas a month and a half away. Franklin was somehow involved in all the plans and his father had given him his mansion downtown to “prepare”. Another party was planned next week and everybody would be there. John Lee walked out into the street and heard the same thing every time: something about his long hair and mustache or asking for autographs.
His agent, Feldman, called him asking if he really planned on quitting Six Guns Across Texas, the hollow western TV show that had quickly propelled him to stardom. John Lee almost forgot that he had said he would return to Dallas to make a “real” film about Texas and quit his show. Whether it was for being a Cowboy or being Tarzan (in one movie), he couldn’t helped but be noticed by the whole city.
He called Dorothy to be his date for his time here, a former sweetheart who was now 21. She just called saying her mother had attempted suicide and apparently he was the only one that could help her. His ex-wife, Geraldine, was also about to move to San Diego with her new husband, but John Lee wanted to see his daughter before he left. Sure enough she was seeing his Tarzan movie at the theater with John Lee trying to tell a patron how easy it was to be different people now that it was his job.
Big Earl, an eccentric millionaire (is there any other kind?), had gotten wind of John Lee’s film venture and told him and Buster (his cinematographer) that he was going to invest $2 million in it, as long as John Lee was able to maintain their telepathic connection. Although, Big Earl couldn’t seem to distinguish John Lee from his TV character, John Lee didn’t bother to correct him.
Jack Ruby called the apartment one day berating John Lee for harboring his most valued stripper Jingo. Jingo had been hiding out there with Buster growing their weed and rolling Torpedoes without anyone noticing. When John Lee came to the Carousel Club, the bar Ruby owned, he saw him clock a DJ who was strapped for cash before downing two drinks. His prolonged fights with Jingo didn’t stop her from putting on a great show even when childhood friend Erwin decided to surprise John Lee with an offer about smuggling some guns to Mexico. He wrote down the figures on a napkin and handed them to John Lee before heading out.
John Lee’s parents were particularly thrilled to see him, it had been so long. His mother scolded John Lee for being in such violent projects while his father took them out to his old farm and informed John Lee about his fights and trials there. John Lee couldn’t help but feel a twinge of nostalgia and gratitude toward his father.
All the while John Lee and Buster had been shooting film and Dorothy had been accompanying him around. This film they were making had saved him from the brink of suicide and gave him a way to see past the artifice of the lifestyle he had chosen. After confiding this in Dorothy, she goes into agony and is taken to the hospital.
The next morning, John Lee discovers she had a baby that isn’t his. She sobs about giving him away and John Lee clumsily tries to comfort her, but only for a while because he and Buster have to go shoot the president. Once they are there, John Lee picks up the camera and is able to lock eyes with Kennedy, the President pointing a finger and winking at him and his camera. For a short time, John Lee sees the meaning of his work, the importance of his home, and what the film could be. But just a few moments after, the pops are heard and the President has been shot.
He and Buster get the press credentials in order see Oswald in the jail with Ruby there as well. Surprised, Ruby says he always knows what’s going on when Buster asks him and screams bloody murder at Oswald. John Lee tries to get into Parkland to see Dorothy but the President and his entourage are still there and sealed the whole place up. Less than three hours later, Kennedy is pronounced dead.
Later, John Lee goes to Big Earl’s house for him and Franklin to talk about his movie, the two assuring John Lee that none of these events can actually be in his finished movie if he intends to have their funding. With the news on, John Lee sees Ruby pass right by Buster and Colonel Burnett and shoot Oswald dead. Stunned, Franklin asks why. John Lee can only respond that Ruby would have killed someone eventually.
Back at his apartment, Buster has developed the film of both shootings and Jingo rolls up a joint for herself and John Lee. She tenderly asks him to come to Rome with her to get away from this crumbling city and backwards state. He can’t and she understandably leaves. He gets a call from Feldman saying that the TV show will have to go on hiatus, somehow “guns” and “Texas” isn’t exactly resonating with viewers. Soon after, the cops bust in arresting Buster for drug dealing and destroying their film in the process.
John Lee visits Dorothy to tell her about what’s happened and she resolves that they should go to Mexico. With all of his friends gone, John Lee sees no reason not too, but goes to the airport and gets on a plane without her. Numb, tired, and unable to concentrate, he looks for a cigarette but finds only Erwin’s drug numbers. He contemplates them and then hears two kids pretending to shoot him from across the aisle, recognizing him. John Lee can’t move and looks wearily out the window…
Awards Campaign:
It is only fitting that Richard Linklater, the man who put Texas on the map as an independent film hub with Slacker in the early 90’s, would craft a film of Edwin “Bud” Shrake’s Texas classic Strange Peaches. Filled with talky and political characters that monologue their way into our ears about various topics, it seems as if Linklater is able to transfer the sprawling source material and truncate into a powerful representation of Dallas in the early 60’s.
The anchor of this is John Lee Wallace, whose disillusionment and jadedness have all but stunted his ability to feel. Garret Hedlund proves to be more than a pretty face, with an intense and subtle performance that suggests tragedy in every glance and growth in every scene. This maybe the most existentially conflicted American character since Bobby Dupea in Five Easy Pieces and Hedlund does little to take the edge off of a frustrating, but deeply compelling anti-hero.
The supporting cast is also fantastic. Zoe Kazan shows more range than we would have thought possible as the long-suffering Dorothy, and Ashley Benson is refreshingly raw and uncompromising as the amoral Jingo. Victor Rasuk gives needed comedy to the proceedings, and veterans Phyllis Somerville and Chelcie Ross give a good dose of humanity to our distant protagonist.
However, it is Ned Beatty and especially Jack Black that leave the biggest impression from the supporting cast. Beatty plays this deceptively smart billionaire with a touch of old Hollywood charm and his presence is felt even more so when he’s off-screen. But Black, playing the alcoholic, pill-popping, perverted Jack Ruby is as hysterical as he is dangerous. Linklater has proved before what he can do with Black, but here he transforms him into a believable killer: something we never could have foreseen.
The real star here though is Linklater, not only for taking the revered and sprawling source material to the screen, but keeping its philosophical core. John Lee Wallace is staring into the heart of darkness, and the staging of the Kennedy Assassination is without question, the best set piece the director has every accomplished. Using it to simultaneously inspire hope and pain, the conflicting feelings in John Lee quickly become our own. Strange Peaches is a tremendous achievement, almost like Robert Altman doing the Kennedy Assassination. The historical context is beautifully constructed as well as the philosophical dilemmas Hedlund articulates. One of the best movies of the year.
FYC:
Best Picture Best Director (Richard Linklater)
Best Actor (Garrett Hedlund) Best Adapted Screenplay (Richard Linklater)
Best Actress (Zoe Kazan) Best Cinematography
Best Supporting Actor (Jack Black) Best Editing
Best Supporting Actress (Ashley Benson) Best Production Design