THE DOOM GENERATION: A Masterpiece Wrongfully Doomed.

THE DOOM GENERATION:

A Masterpiece Wrongfully Doomed.

The Doom Generation directed by Gregg Araki is a rad pop-culture, acid-washed Picasso. As the title suggests it speaks to a specific generation and an even more specific audience. As part of Araki's Teenage Apocalypse Trilogy (including Totally Fucked Up and Nowhere) The Doom Generation falls in the middle, yet manages to stand alone. It has been wrongfully criticised and by some of the most respected film critics including Roger Ebert. Whos "zero star" rating can only attribute to how bizarre and boldly speaking it is to a culture of youths. This is something Ebert can't possibly understand. That probably isn't a bad thing considering the film's mosaic canvas is fashioned from a drug-induced paintbrush.

The "Bonnie and Clyde" road-movie storyline takes a backseat to the very original characters and their situations with one another. As well as the overall atmosphere of the kaleidoscopic world they live in. Rose McGowan made her splash as Amy Blue the speed-junkie lover of the alternatively attractive Jordan (James Duval, of the magnificent Go). When their club night spins into tragedy they pick up a bad-boy drifter Xaiver (Jonathon Scheach) who has more on his mind than just a ride. A homo-erotic spark flares between Xaiver and Jordan. When Xaiver realizes he can't get Jordan to succumb to his advances he seduces the jealous Amy.

The director is brilliant in the fact that he knows how to tease us. The two male leads nearly kiss numerous times and each time we buy into it. The dangerous hunger between them fuels the rest of the film into a murder and escape routine. Rose McGowan perfectly up-plays the jealousy card just enough that you get the feeling the thought of the two males together also turns her on. You see-- Amy doesn't want her lover Jordan to fuck around with Xaiver but she knows that to alleviate her guilt of having slept with the drifter-- it is inevitable.

When the taboo tests us to the limit and the two guys begin to act on their desires in an abandoned warehouse, the message of the film ignites like a firestorm. A homophobic pack of roughnecks stumble upon them, we are bound for an excruciating and unexpected climax. The highly-stylized film comes full circle by the gay-bashing statement of the final act. Fully equip with crude references to the American flag and body-painted Nazi Swastikas.

What makes me smile about such films as this is the absolute trust the actors and crew clearly gave up to a director with a nonlinear scattered vision. That trust is how true works of art are made and in this case filmed. Interestingly enough Gregg Araki went on to direct the gay romantic comedy Adam & Steve 10 years later. A hilarious and heartwarming nod to the gay romance scene or a much needed addition to the unfortunate lack their of in cinema. The movie Co-Stars the great Parker Posey-- who cameos here. Which is my sole complaint with The Doom Generation. Her character should have appeared at the end of the film for a subtle bow-tie. But the desire to broaden the cameo is basically like polishing the silver. If Araki, who once fashioned films of this dark nature and went on to impress with the linear fluidity of Adam & Steve, keeps successfully changing visions in the future-- he is certainly a director that merits grand attention.

The Doom Generation was made in 1995. A final bow to the years of grunge in the main-stream created by the likes of such alternative forces Nirvana and Pearl Jam. It speaks to that generation of youth, as well as throws forward to a newer artistic generation in the wake of the abstract Lady Gaga stylings. One wants to say it was ahead of its time (another part reason that Ebert didn't "get it") but rather it has been able to hold itself by finding a cult audience that bashed its lukewarm critical reception. Well worth noting is a worthy Independent Spirit Award Nomination for Rose McGowan as Amy Blue who, a year later, went on to cement her fame into the "Scream" franchise.

Stylistic movies that include dark-tones such as drugs, sex and violence often times scare people. Therefore they lash out or rather don't bother to understand that the director was speaking for a different person-- a certain generation. It scares them because they don't understand the world it is trying to portray. But rarely do we ever dissect and solve the unusual correctly-- even with famous works of art. Take the notorious portrait "The Scream" by Edvard Munch into consideration. We can only speculate the grim purpose and why the brush strokes are so darkly psychedelic. Maybe that outside wonder is part the point. Perhaps we should question why we are so intrigued. Even intrigued to hate or bitterness. As far as The Doom Generation is concerned, even as an outsider we are left with this puzzling film portrait. A portrait we are meant to admire on a whole other level-- because, like behind the wheel of Amy's car, it moves us into an uncertain direction.

Grade: A

The Forgotten Actress Club: "Rue McClanahan"

Inducted into "The Forgotten Actress Club":

RUE McCLANAHAN

Let's face it Rue McClanahan will always be remembered best as a "Golden Girl". Even though she made an impression beforehand in "Maude" and "Mama's Family"-- both curiously including her "The Golden Girls" co-stars. However, it was as Blanche Devereaux, a saucy southern belle that loved men as much as her own mirror reflection, for which she won an Emmy Award. "The Golden Girls" is still the only television show in history to earn Emmy's for all its central players. It is an undeniable classic. A classic that was unfortunately cut a season or two too short by the departure of Bea Arthur-- perhaps to staple her place as the most important lead character (the way the show had started out). Regardless, the sitcom stands the test of time, framing the 4 friends equally, never separate.

It is easy to stereotype each of "The Golden Girls" into personality categories, perhaps that is why audience members were able to relate so strongly to the 4 very different characters. On the surface it was easiest to sterotype Blanche's character as a one-noted bimbo. Thankfully Rue gave the character much more depth. She was particularly fantastic in dramatic sequences. In an episode where Baby Emily is left possibly abandoned in the girls' care, Blanche contemplates another chance at raising a child. With regret in the aging beauty's face she owns up to taking her life over her own children in the past. The effect this has is nothing short of heartbreaking-- one of those terrifying realizations of years of damage. In her case brought on by countless sexual encounters and Miami socialiting. There is a memorably scene near the end of the episode where she agonizingly tries to talk to her daughter over the phone, nearly begging her for a visit. From this phone monologue alone, and knowing as an actress Rue was not "actually" talking to someone on the other line-- her Emmy is well deserved.

Blanche was the glue that held "The Golden Girls" together. Without her charm and her literal open-door friendship to the 3 other roomates-- they would never have known eachother to begin with. This makes her importance in the series just as strong as the often-thought-of-lead Bea Arthur, the scene-stealer Estelle Getty, and the sudden surge of "Betty White is everywhere!" Rue had perhaps some of the most memeroable bits: from deflating tit's to the brunt of a murder mystery dinner theatre joke-- one of the series best episodes. The comedic zeal her character exudes mixed with her ability to be unexpectedly dramatic despite fighting a cardboard framed character are why she deserves this induction into the "Forgotten Actress Club"-- Rue McClanahan was nothing short of a great actress.

Sadly, Rue passed away from a stroke on June the 3rd, 2010. She was 76 years old... leaving longtime friend Betty White to hold the torch as the final Golden Girl.

Long live Blanche.