True Stories

Virgil, Texas is a sleepy little town as American as apple pie and just as sweet. The townsfolk are preparing for a so-called 'Celebration of Specialness', to mark the sesquicentennial of Texas' independence, which has attracted the attention of a talkative, cowboy-hat sporting stranger. This enigmatic stranger guides us through the town and introduces us to its people, showing us the beautiful strangeness of everyday life in Virgil. David Lynch once said that if "one looks a little closer at this beautiful world, there are always red ants underneath." In Virgil, the ants are on the surface.

A surreal musical-comedy directed by David Byrne and written alongside Stephen Tobolowsky and Beth Henley, 'True Stories' is a delightfully absurd film that paints an affectionate portrait of life in a small American town. Full of eccentric, compelling characters- such as the lonely Louis Fyne and the lethargic Miss Rollings- the film is consistently entertaining in an offbeat manner. Consisting of quirky vignettes and permeated with Byrne's brilliant music throughout, 'True Stories' plays a little like a comedy 'Blue Velvet'- minus the sexual and psychological violence, of course.

Like Lynch's film, 'True Stories' celebrates the diversity and creativity of American culture, and finds joy in the ordinary, peculiar and mundane. Byrne, Tobolowsky and Henley's dialogue is idiosyncratic and the way in which Byrne weaves his songs into the narrative is terrifically clever. Though some might find the peculiar tone and satire not to their tastes, for anyone who enjoys the films of Jim Jarmusch, The Coen Brothers, Aki Kaurismaki or the aforementioned Lynch; 'True Stories' will entertain greatly.

It is also a technically impressive effort, with Ed Lachman's cinematography being particularly outstanding. His work enhances 'True Stories' satirical tone while complementing its whimsical humour and charm. Lachman captures the vibrant landscapes and quirky details of Virgil with a keen eye, utilising bright colours, natural light and wide-angle shots to create a sense of openness and awe. This he contrasts with darker tones, artificial light and close-ups to create a sense of intimacy and mystery. Additionally, he employs various camera techniques- such as tracking shots, zooms and freeze frames- that emphasize the rhythm and energy of the musical numbers, as well as Byrne's narration.

Speaking of the musical numbers, fans of Byrne and Talking Heads will find them delightful. Ranging from bouncy hits like 'Wild, Wild Life' and 'Radio Head' to ballads like 'Dream Operator,' they mark some of Byrne's most heartfelt and witty lyrics, as well as some of his catchiest melodies. They also bolster the film's satirical tone, and the down-to-earth strangeness of its characters. Admirably performed by various members of the cast, each and every song is memorable. Though perhaps the rerecorded versions that made up Talking Heads' penultimate album are better known, the original songs as performed by the cast make up a vital part of 'True Stories' charm and humour.

While on that point, all in the cast perform brilliantly, bringing a sincerity and a quirkiness to proceedings that fits the material- and their roles- perfectly. John Goodman shines as Louis Fyne, the lovable and lonely bachelor longing for romance who sings his heart out. Swoosie Kurtz is equally hilarious as Miss Rollings, who never leaves her bed and has everything delivered to her. Spalding Gray and Annie McEnroe also do fine work as Earl and Kay Culver, a bickering pair of civic leaders who communicate through their children and their television. And of course, David Byrne himself is a captivating narrator and guide, who interacts with Virgil's townsfolk with an endearing mixture of curiosity and respect.

Unique and charming, 'True Stories' showcases David Byrne's incomparable vision and talent as a director, writer and musician. Featuring numerous humorous vignettes that paint an original, surreal tapestry of small-town American life, as well as great dialogue and pointed satire, the film is a delight from start to finish. Boasting a brilliant soundtrack, striking cinematography and fine performances from all in the cast, 'True Stories' is a truly strange, truly brilliant piece of fiction.

The film itself is rich in it's look and content. True stories is Set in A fictional small town in Texas, celebrating the 150th anniversary of the state in it's own small way. Byrne points out how many small American towns shape themselves politically and culturally from the inside. The scenes of the vast Texas landscape reflect the isolation of little Virgil. Byrne drives past a row of brand new houses with four car garages and asks "who do you think lives here?", much like he does in some of his TH songs such as "Big Country" and "Dont Worry About the Government". When we do meet who lives there we are greeted by a quite eclectic bunch; the world's laziest woman, Louis the desperate bachelor, Ramon, the voodoo priest. Often when we visit small unassuming towns, we are surprised by what we find. Byrne's character obviously had some assumptions about Virgil, Texas. He walks around town in a stetson hat and cowboy shirts and wonders why everyone else doesn't dress the same way. The songs are terrific in the film. I was well familiar with the TH album of the same name before I saw the film, but many of the renditions are on par with the unofficial soundtrack, particularly "papa legba" and Goodman's "people like us". The movie is an homage to Byrne's fascination to small town America and folk art. Byrne's commentary over a series of photo montages are great too, like when he gives the history of Texas in about 3 minutes noting that "the Spaniards offered the indians a chance to become slaves. The indians thought about this, decided it was not a good idea, and killed the Spaniards" Those that really dislike this movie are, on some level, just not getting it.

Although some scenes (like the fashion show) are clear absurdist parodies, Byrne tends to approach his topics more as an observer than a critic. Often the tone is sympathetic, never critical.

Although much of Byrne's commentary is at best cryptic or anticlimactic ("Personally, I believe -- I can see Ft. Worth from here."), there is much profundity beneath the absurdism. Byrne's reflections on forgetting are particularly apt.

This is not a film to approach with any expectations. Just watch and absorb, and let what you see percolate in your mind.

John Goodman's character is also the most charming Everyman to grace the screen since Marty.

The music sequences are also among the best I've ever seen.

Rent it and watch it on a big screen TV. Watch sober. Watch under the influence of your favorite mind-altering substance. Watch alone. Watch with friends. Watch when you're alert and rested. Watch when you're tired. Watch again and again.

That's what he told me, at the end of the movie. The sophisticated New Yorker, the witty Kubrick fan with his degree in film, sat there stunned on the floor; I could almost see the smoke coming out of his ears.

To try and describe it is something like attempting to nail Jell-O to the wall. There's no plot, really; but there are a lot of things going on, threads of peoples' lives, loosely connected. The film describes itself as being "about a bunch of people in Virgil, Texas" and it is, but actually it's about the wonderful absurdity, lunacy even, of "normal" American life. David Byrne's Narrator character isn't condescending or snide. He's innocent, wondering, matter-of-fact. He looks at the cookie-cutter tract houses and asks, "Who can say it isn't beautiful?"

This is a very unique little movie, and people either seem to get it, or not. I can never predict who will or won't catch the humor. But, if you're not smiling by the end of the intro sequence, this probably isn't the movie for you. Personally, I was laughing my butt off by then. I can't say that this movie made me a better person, but it did add something to my world and gave me a great appreciation for the mind of David Byrne.

At this late date, TRUE STORIES – the lone feature film directed by renaissance man/rock-n-roll artiste/ex-Rhode Island School of Design student David Byrne - is viewed (if remembered as all) as a cerebral artifact from the 80s. TRUE STORIES is a far from flawless film, and its' influence is highly debatable. But the 90s saw an explosion of films wrapped in an aura of aloof, ironic cool – bits of very low-key postmodernist voyeuristic glimpses into the day-to-day lives of 'ordinary people' – either lauded or ridiculed for their 'authenticity.'

Simultaneously, a number of feature films were also exploring the limits of a dubious sub-style known as faux-documentary. And – great or not – this fascinating film reworked the possibilities of both long before most of the competition. In essence, this is a very detached take on the musical – set in fictional Virgil, Texas – a small-but-growing prairie boomtown notable for its antiseptic normality. Each of the principal characters are based upon people Byrne (who co-wrote the screenplay) had read about in tabloid newspapers – hence the man so lonely he buys commercial time to advertise himself on TV (John Goodman), the laziest woman in the world (Swoozie Kurtz), the world's worst pathological liar (Jo Harvey Allen), and spectacles like the mall fashion show, where we get to see (among other treats) a 3-piece suit made entirely out of lawn clippings (What?!?! No macramé, velvet paintings, tractor pulls or decoupage?). Byrne – who appears as a travel guide/narrator - gently escorts the audience through this offbeat parade, as the varied denizens of Virgil do what they do, occasionally pausing to sing one of the numerous songs (genre exercises well-matched to the characters - watch for a great 'Papa Legba' performed by the late Pops Staples) written by Byrne for the film. At worst, TRUE STORIES could be viewed as the enthusiastic and genuinely inspired work of an ambitious, intellectual urbanite who really, really ought to get out more – and Byrne should be credited for not indulging in the sneering, aloof insularity that has occasionally infected more recent films of this variety.

But at best it comes across as a genuine attempt at presenting a unique variety of homegrown, Americana-style surrealism – something that might possibly qualify as a specific strand of folk art and culture that would be a rural counterpart to what folks like Keith Haring, Laurie Anderson, Barbara Krueger, Spalding Grey – and Byrne – were doing in the insular world of Manhattan in the 1980s. TRUE STORIES looks amazing – thanks to the sparse cinematography, and Spalding Grey, John Goodman (as Byrne's comic foil) and Pops Staples are all great. A genuinely seminal, if flawed film.