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Review: Rich Hill

Rich Hill is poverty porn, examining lower-class spaces with pity as its operative mode and engendering little more than a means for viewers to leave the film acknowledging its sadness.

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Rich Hill
Photo: The Orchard

In his essay from the late 1940s entitled “Manners, Morals, and the Novel,” literary theorist Lionel Trilling stated that “pleasure in cruelty is licensed by moral indignation,” and would go on to claim the middle class as the group of people where such a strange aesthetic relationship often takes hold, designating moral indignation as their “favorite emotion.” Rich Hill exists in this space. Detailing the lives of three separate, impoverished teen boys living in Rich Hill, Missouri, directors Andrew Droz Palermo and Tracy Droz Tragos allow their camera to probe and linger in spaces of disorder and grime, but without any discernible purpose other than gaining access to lower-class spaces—another popular pleasure created through middle-class distance. Rich Hill is poverty porn, examining lower-class spaces with pity as its operative mode and engendering little more than a means for viewers to leave the film acknowledging its sadness.

The film, which won the documentary Grand Jury Prize at this year’s Sundance Film Festival, unsuccessfully attempts to transform its subjects’ circumstances into lyrical lament a la David Gordon Green or Terrence Malick. However, Palermo and Tragos don’t have an eye for it; beneath aimless tracking shots of dilapidated buildings and an indistinct, almost temp-track melancholic score, the boyhood struggles of Andrew, Appachey, and Harley remain at arms length, primarily because the filmmakers confuse access with insight. That access amounts to “boys-will-be-boys” moments of cursing out the TV while playing video games, applying far too much cologne, and sleeping in Playboy Bunny bed sheets, juxtaposed with more aggressive behavior, such as when Harley bluntly explains his thoughts on sexual violence: “I got strong feelings about rape; I’m against it,” and concludes by stating that he would like to murder rapists. It becomes clear that Palermo and Tragos include his views to set up a later revelation: that Harley was raped by his stepfather as a child.

Child rape is a questionable “payoff” in any film, but remains consistent with Palermo and Tragos’s undiscerning insistence of revealing the depths of sorrow afflicting these lives—or it reveals their banal manipulation tactics and cognizance of what will outrage the middle-class viewers bound to see their film. They also feature lines from their subjects like “It feels good to have the bills paid for once” or “Me and my mom used to listen to this song before she got locked up” with little more in mind than piling on the pitiful sorrow. Of course, an entire socioeconomic stratosphere exists outside these communities, but Rich Hill makes no mention of it; it’s too busy wandering in and out of its simplistic aesthetic register, juxtaposing fireworks with arm wrestling and any other number of forced metaphors (wilted leaves barely hanging to trees in the wind is perhaps the most risible). Missing is the joyful peculiarity found in Louis Malle’s God’s Country and the devastating ethnographic urgency of Martin Bell’s Streetwise. Near the beginning of the film, a train chugs through the small town. The far-reaching grasp of industrialized expansion may have arrived in Rich Hill, but purpose or insight into this dynamic have eluded Palermo and Tragos’s grasp.

Director: Andrew Droz Palermo, Tracy Droz Tragos Distributor: The Orchard Running Time: 91 min Rating: NR Year: 2014 Buy: Video

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Awards

Oscar 2019 Winner Predictions: Original Screenplay

This season, Hollywood is invested in celebrating the films they love while dodging the cultural bullets coming at them from every angle.

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Green Book
Photo: Universal Pictures

You know, if it weren’t for the show’s producers effectively and repeatedly saying everything about the Academy Awards is terrible and needs to be changed, and the year’s top-tier contenders inadvertently confirming their claims, this would’ve been a comparatively fun and suspenseful Oscar season. None of us who follow the Academy Awards expect great films to win; we just hope the marathon of precursors don’t turn into a Groundhog Day-style rinse and repeat for the same film, ad nauseam.

On that score, mission accomplished. The guilds have been handing their awards out this season as though they met beforehand and assigned each voting body a different title from Oscar’s best picture list so as not to tip the Oscar race too clearly toward any one film. SAG? Black Panther. PGA? Green Book. DGA? Roma. ASC? Cold War. ACE? Bryan Singer’s Bohemian Rhapsody. Even awards-season kryptonite A Star Is Born got an award for contemporary makeup from the MUAHS. (That’s the Make-Up Artists and Hair Stylists Guild, not the sound Lady Gaga fans have been making ever since A Star Is Born’s teaser trailer dropped last year.)

Not to be outdone, the Writers Guild of America announced their winners last weekend, and not only did presumed adapted screenplay frontrunner BlacKkKlansman wind up stymied by Can You Ever Forgive Me?, but the original screenplay prize went to Eighth Grade, which wasn’t even nominated for an Oscar. Bo Burnham twisted the knife into AMPAS during his acceptance speech: “To the other nominees in the category, have fun at the Oscars, losers!” In both his sarcasm and his surprise, it’s safe to say he speaks on behalf of us all.

As is always the case, WGA’s narrow eligibility rules kept a presumed favorite, The Favourite, out of this crucial trial heat. But as the balloting period comes to a close, the question remains just how much enthusiasm or affection voters have for either of the two films with the most nominations (Roma being the other). As a recent “can’t we all just get along” appeal by Time’s Stephanie Zacharek illustrates, the thing Hollywood is most invested in this season involves bending over backward, Matrix-style, to celebrate the films they love and still dodge the cultural bullets coming at them from every angle.

Maybe it’s just tunnel vision from the cultural vacuum Oscar voters all-too-understandably would prefer to live in this year, but doesn’t it seem like The Favourite’s tastefully ribald peppering of posh-accented C-words would be no match for the steady litany of neo-Archie Bunkerisms spewing from Viggo Mortensen’s crooked mouth? Especially with First Reformed’s Paul Schrader siphoning votes from among the academy’s presumably more vanguard new recruits? We’ll fold our words in half and eat them whole if we’re wrong, but Oscar’s old guard, unlike John Wayne, is still alive and, well, pissed.

Will Win: Green Book

Could Win: The Favourite

Should Win: First Reformed

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Watch: Joanna Hogg’s The Souvenir, Starring Honor Swinton Byrne and Tilda Swinton, Gets First Trailer

Joanna Hogg has been flying under the radar for some time, but that’s poised to change in a big way.

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A24
Photo: A24

British film director and screenwriter Joanna Hogg, whose impeccably crafted 2013 film Exhibition we praised on these pages for its “disarming mixture of the remarkable and the banal,” has been flying under the radar for the better part of her career. But that’s poised to change in a big way with the release of her latest film, The Souvenir, which won the Grand Jury Prize at this year’s Sundance Film Festival. Prior to the film’s world premiere at the festival, A24 and Curzon Artificial Eye acquired its U.S. and U.K. distribution rights, respectively. Below is the official description of the film:

A shy but ambitious film student (Honor Swinton Byrne) begins to find her voice as an artist while navigating a turbulent courtship with a charismatic but untrustworthy man (Tom Burke). She defies her protective mother (Tilda Swinton) and concerned friends as she slips deeper and deeper into an intense, emotionally fraught relationship that comes dangerously close to destroying her dreams.

And below is the film’s first trailer:

https://www.youtube.com/watch?v=t9Al2nC0vzY

A24 will release The Souvenir on May 17.

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Awards

Oscar 2019 Winner Predictions: Sound Mixing

For appealing to voters’ nostalgia for drunken karaoke nights of yore, one film has the upper hand here.

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20th Century Fox
Photo: 20th Century Fox

Given what Eric wrote about the sound editing category yesterday, it now behooves me to not beat around the bush here. Also, it’s my birthday, and there are better things for me to do today than count all the ways that Eric and I talk ourselves out of correct guesses in the two sound categories, as well as step on each other’s toes throughout the entirety of our Oscar-prediction cycle. In short, it’s very noisy. Which is how Oscar likes it when it comes to sound, though maybe not as much the case with sound mixing, where the spoils quite often go to best picture nominees that also happen to be musicals (Les Misérables) or musical-adjacent (Whiplash). Only two films fit that bill this year, and since 2019 is already making a concerted effort to top 2018 as the worst year ever, there’s no reason to believe that the scarcely fat-bottomed mixing of Bryan Singer’s Bohemian Rhapsody will take this in a walk, for appealing to voters’ nostalgia for drunken karaoke nights of yore.

Will Win: Bryan Singer’s Bohemian Rhapsody

Could Win: A Star Is Born

Should Win: First Man

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