2013, R, 98 mins.
2013, R, 98 mins.
Allen (Alien): James
Faith: Selena Gomez /
Candy: Vanessa Hudgens /
Brit: Ashley Benson /
Cotty: Rachel Korine
Judging by the film’s trailer and most of its advance advertising, SPRING BREAKERS looked like it was going to be yet another in a long list of beach party films where young swimsuit-clad people causally throw all of their inhibitions to the wind and engage in all sorts of unsavory behavior.
To be fair,
the opening sections of writer/director Harmony Korine’s film does appear
to offer just that: cheap and sensationalistic titillation.
Yet, Korine has something decidedly darker and more eerily twisted
up his sleeve with SPRING BREAKERS; it begins by showing off half naked
beach babes gorging on beer and drugs on sun-drenched beaches, but it then
takes an abrupt 180 degree turn by becoming a searing commentary on the
sickening devolution of today’s youth.
no mistake about it: SPRING BREAKERS is an endlessly sleazy film, but
it’s a sleazy film with a deeply rooted and hard message at its core and
one that is also exemplarily handled on
a level of pure filmmaking craft.
Korine is perhaps best known for writing the then-scandalous NC-17
rated KIDS in 1997 and then followed that up directing low budget indie
fare like GUMMO, JULIEN DONKEY BOY, and MISTER LONELY.
If anything, Korine displays himself behind the camera in SPRING
BREAKERS with an astute eye for aesthetic detail, and he also knows how to
push viewers’ emotional buttons to feverous extremes.
There are times when I was sort of in awe at the film’s almost
freakish visual beauty while, at the same time, becoming deeply unsettled at
the smorgasbord of unseemly and criminal behavior displayed on screen.
Those going into this film expecting high a T and A quotient won’t
be disappointed, but those of you out there may not be prepared for what
the film has to say about society’s careless and law-defying
actual story that Korine tells is, to be fair, kind of limited and
sparse, not to mention that most of the female characters in it are
distilled down to types. What’s
crucial in the film, though, is the whole maddening mood and atmosphere it
creates with showing beautiful young women – with their whole lives
ahead of them – become wholly oblivious to what they do and eventually
become, which is kind of frightening.
The four college girls in question are Faith (Selena Gomez), Candy
(Vanessa Hudgens), Brit (Ashley Benson) and Cotty (Rachel Korine, wife of
Harmony). They all wish to
leave the monotony of their scholastic endeavors and escape to the
hedonistic pleasures of Spring Break in Florida.
is one problem: they don’t have enough money.
The girls then decide – much to Faith’s dismay (she’s a
staunch Christian gal) - to take a turn to the dark side by committing petty
masked and armed robbery to fund their trip. After they are successful, they flee down to Florida, where
they initially spend their free time partying it up as just about any other
youth is while there. Things
start going south for the girls, especially when they are all arrested at
one particular drug-fuelled party gone wrong.
While in custody they are bailed out by a stranger who
affectionately refers to himself as “Alien” (James Franco), a wanna-be
gangster rapper and drug dealer with sickening delusions of his own
greatness. Everyone seems
hopelessly lured into to the bizarre and Svengali-like allure of Alien’s
mini-criminal empire, all except Faith, who can clearly smell a rat when
she sees one. She decides to
depart back home, and after a teary-eyed farewell with her friends the
remaining trio decide to go down Alien’s rabbit hole of criminal
activity, no matter how morally questionable.
filmgoers and critics that still believe that Franco is a performer of
limited variety and skill desperately need to seek out SPRING BREAKERS,
where the actor completely sheds his pretty boy façade and buries himself
deep into one of the most unseemly and deplorable human beings to occupy a
film in long time. Decked out
in multiple tattoos, facial and body piercings, dreadlocks, and
gold-capped teeth, Alien seems like an extraterrestrial from another
plane of existence. Franco
brings an unpredictable level of sinister menace to the role, who uses
everything in his flirtatious arsenal to turn his female prey into
cold-blooded killers. Franco
has a bravura moment where he takes the girls on a tour of his “crib”,
decked out in guns, drugs, multiple bottles of Calvin Klein
fragrances, and SCARFACE on a continuous loop.
He also achieves instances of dark comedy, as is the case where he
sings – while on a piano – Brittany Spears’ “Everytime” to his
ladies while a visual montage of their future criminal activities plays in
synch. The only thing
holding back Franco from an Oscar nomination here is the Academy’s
infamously short attention span.
performances from the actresses themselves are broadly based, but kind of
haunting all the same. Gomez’s
Faith is arguably the only one with any defining characteristics of
humanity (she serves as our portal into the film’s depravity), whereas
the other women – some of which made careers staring in mediocre, family-friendly, and totally disposable Disney Channel fare – emerge as
pleasure-seeking sociopaths by the film’s conclusion. There are certainly some in the audience that will complain
that Korine and his camera engage in shameless voyeurism in the film (many
shots of the scantily clad starlets are borderline invasive), but Korine
is not interested in displaying his stars as crude sex objects: he wants to
uncompromisingly show the utter corruption of their souls when cast under
another lunatic’s spell.
further allows this with his stylistic choices.
Cinematographer Benoit Debie paints a hypnotic
fantasia of candy-colored beach vistas and sumptuous sunsets in the film,
but he also forges a sense of propulsive visual energy to the proceedings
to make audiences feel like they're are fly-on-the-wall observers to the
girls' increasingly erratic behavior.
This is one of the most strangely gorgeous, but toxic looking films
I’ve seen; even when the film generates moments of aesthetic pageantry
the case with a virtuoso camera pan that chronicles – from the outside
looking in – the early robbery perpetrated by the girls) it later descends into documentary-like
hand-held extremes that evokes the girls’ sickening extremes they
partake in later.
I’m sure that many will come out of SPRING BREAKERS either loving or hating it. Again, those expecting a mindless skin flick may be taken aback – or frankly disturbed – by what they see on screen, not to mention that young viewers that grew up on the young casts’ G and PG-rated fare may be easily shocked by what transgresses on screen. The façade of SPRING BREAKERS is a drug and alcohol imbued beach party film, but that’s just the crude surface of what really lurks beneath. The film’s initial dreamscape of anything is possible for the girls morphs into an unrelenting social nightmare where they simply have no understanding of cause and effect. SPRING BREAKERS emerges, in a way, more as a psychological horror film than it does as a crass and bawdy teen comedy about girls gone wild. I did not enjoy, per say, what I saw in the film, but I appreciated what it wanted to say and how it said it, and Franco’s deliriously unhinged performance is one for the proverbial ages. It’s impossible to look away when he’s on-screen.