I will say that this film is Art at the risk of having raw vegetables thrown at me. It is not "a movie", as in "Hey, Mary, let's go down to the multiplex and catch Julien Donkey-Boy." No. I have the mixed pleasure of understanding this film's subject matter as a clinician. The film conveyed, in my educated opinion, a sensual experience of being very close to the dysfunction it displays. What may seem like unsophisticated art school techniques with sound and image to the casual viewer rang absolutely affectively true to me, as a person who has worked in locked units of state mental hospitals with these families. As entertainment, the film is terrible, as it should be. I would not advise buying an extra large popcorn. It is disturbing and enlightening. Whether or not it belongs in a theater, museum or a classroom is probably debatable. Werner Herzog was brilliant. Ewen Bremner blew me away. Bremner's acting range is amazing. I look forward to seeing him some day in a "regular guy" role.
76 Reviews
Somewhat reflexive presentation about schizophrenia
mstomaso15 May 2011
Do not expect to be entertained, and do not expect to be overwhelmed by the aesthetic of this film. Julien Donkey Boy is no more beautiful than its subject. Harmony Korine, in directing and writing this film, has done exactly what he set out to do - he has created a concentrated dose of family life with schizophrenia. In saying that the experience is concentrated, what I mean is that the film uses exaggeration rather liberally in order to condense its somewhat impossibly defined subject matter. Although there are certainly interwoven story arcs for the main characters, there is no central plot, no linearity, no unfragmented reality. The film itself, therefore, is just a little unhinged.
One of my older sisters was schizophrenic. You would have to condense a couple decades worth of her psychotic episodes into a couple of hours to get anywhere near the level of constant distress that is depicted in this film. I most closely related to the character of Pearl, Julien's pregnant sister, but recognized aspects of my own family in all of the characters. What I am trying to say is that there is certainly some truth to what this movie says and the archetypal characters portrayed, its truth may be hard to recognize if you haven't lived through it.
Living with a schizophrenic will bring out and amplify your own nature - and if you are open to it, you will be a better person. It is also, however, fairly easy to allow the experience to overwhelm you. People who have never been exposed to schizophrenia in any but a superficial way will find most of the film's characters and vignettes very difficult to believe. I am pretty sure Korine knew this going in.
Korine has portrayed schizophrenia in a sensitive and truthful, but nevertheless utterly disturbing and somewhat unrealistically condensed way. Every directorial decision is meant to create a sense of realism. The method is very effective, and the film is essentially successful. Julien intentionally and clearly positions its audience as voyeurs, using hand-held photography almost exclusively and allowing character- development (the bulk of the film) to dictate the pace and rhythm of every scene. All of the acting is superb, and although there are very few feel-good moments in this film, it may be somewhat cathartic for folks like me, and somewhat (painfully) enlightening for those who grew up in less dysfunctional, or more-traditionally dysfunctional, families.
One of my older sisters was schizophrenic. You would have to condense a couple decades worth of her psychotic episodes into a couple of hours to get anywhere near the level of constant distress that is depicted in this film. I most closely related to the character of Pearl, Julien's pregnant sister, but recognized aspects of my own family in all of the characters. What I am trying to say is that there is certainly some truth to what this movie says and the archetypal characters portrayed, its truth may be hard to recognize if you haven't lived through it.
Living with a schizophrenic will bring out and amplify your own nature - and if you are open to it, you will be a better person. It is also, however, fairly easy to allow the experience to overwhelm you. People who have never been exposed to schizophrenia in any but a superficial way will find most of the film's characters and vignettes very difficult to believe. I am pretty sure Korine knew this going in.
Korine has portrayed schizophrenia in a sensitive and truthful, but nevertheless utterly disturbing and somewhat unrealistically condensed way. Every directorial decision is meant to create a sense of realism. The method is very effective, and the film is essentially successful. Julien intentionally and clearly positions its audience as voyeurs, using hand-held photography almost exclusively and allowing character- development (the bulk of the film) to dictate the pace and rhythm of every scene. All of the acting is superb, and although there are very few feel-good moments in this film, it may be somewhat cathartic for folks like me, and somewhat (painfully) enlightening for those who grew up in less dysfunctional, or more-traditionally dysfunctional, families.
NOT a mainstream film, but Very Interesting
paul-36828 January 2000
I wasn't sure how this film was going to appear when I finally saw it. I felt "gummo" was a great film, and didn't see exactly how this was going to compare. "Julien" actually seemed to surpass in reality. It was in no way a mainstream film, but on the other hand, it was not too "artsy" to be understandable. It kept my attention the entire time. I was intrigued not only by the film techniques but by the story it told. The characters were outstanding considering nothing was scripted. I thought the end of the film was very offensive when watching it, but thinking back on it now, it was handled very well and the movie was telling a story. All actors were very believable, and Svengy did a magnificent job. I think my favorite part in the film was the scene in the thrift store. I was also very happy to notice Will Oldham in the party scene and then see a thank you to him in the credits. If "gummo" intrigued you, this film will also.
A work of real filmic art
vidalia1520 November 2001
Harmony Korine's Julien Donkey-Boy, is nothing less than real filmic art. It chronicles a day or so in the life of Julien, a teenage schizophrenic, and the other family members he lives with: his sister, his frustrated and abusive father, played nicely by Werner Herzog, (of all people), his younger brother, and his grandmother.
The effect is like watching Leave it to Beaver on acid--a haunting picture of a family paralyzed by their own dysfunctionality, so pervasive it is that it virtually crushes any hope of what most of us would call a "normal" life. The real tragedy is knowing that we are merely glimpsing a fictional account of what many real families with similar situations have to endure. The film isn't a success solely due to its effectively disturbing chronicle of a mentally ill teen, but rather, HOW it chronicles the life of this character. Korine is a master of using film to communicate story and messages, specifically through the use of editing, cinematography and visual effects. This is amazing, since at only 27, Korine has more visual ownership of the medium than do most directors with twice his experience.
Yet, Korine's movies are not popular. Most people wouldn't have a clue as to what's going on in them. This is because Korine uses visual symbols and other filmic elements to reveal the plot and character development. And he does this masterfully. For example, in one scene, we see the images as if on a videophone, frame-by-frame, with erratic cuts in the action. Yet, the sound flows as normal. Korine uses this technique to symbolize the main character's fragmented view of the world -- a view that is dramatically distorted from our own. This is brilliant filmmaking -- an example of "show, don't tell" yet through use of film form rather than character action.
Indelibly, it is Korine's unconventional film style, of which a good deal looks experimental, yet all of which is handled expertly, that will also keep him at the fringes of the film world, barring him the popularity he deserves. This is too bad since he brings as much to the art of independent film as Scorcese does to the Hollywood film. Yet Korine will never have the accessibility of the other.
In this film, Korine reveals the character of Julien not only through his actions, but via his reactions to those around him and to his environment. This is a hard task for a filmmaker to achieve since those who don't know the particular "reason" for a scene or for its purpose, will be lost. The film demands an aggressive viewer, one who wants to share the boldness of the director's vision, while deciphering it through his or her own knowledge of film conventions and prior knowledge.
Julien Donkey-Boy is not as emotionally powerful as Korine's previous film, Gummo, yet it is just as important in what it has to say about film as a medium of communication, and, about the people who are living at the margins of society.
The effect is like watching Leave it to Beaver on acid--a haunting picture of a family paralyzed by their own dysfunctionality, so pervasive it is that it virtually crushes any hope of what most of us would call a "normal" life. The real tragedy is knowing that we are merely glimpsing a fictional account of what many real families with similar situations have to endure. The film isn't a success solely due to its effectively disturbing chronicle of a mentally ill teen, but rather, HOW it chronicles the life of this character. Korine is a master of using film to communicate story and messages, specifically through the use of editing, cinematography and visual effects. This is amazing, since at only 27, Korine has more visual ownership of the medium than do most directors with twice his experience.
Yet, Korine's movies are not popular. Most people wouldn't have a clue as to what's going on in them. This is because Korine uses visual symbols and other filmic elements to reveal the plot and character development. And he does this masterfully. For example, in one scene, we see the images as if on a videophone, frame-by-frame, with erratic cuts in the action. Yet, the sound flows as normal. Korine uses this technique to symbolize the main character's fragmented view of the world -- a view that is dramatically distorted from our own. This is brilliant filmmaking -- an example of "show, don't tell" yet through use of film form rather than character action.
Indelibly, it is Korine's unconventional film style, of which a good deal looks experimental, yet all of which is handled expertly, that will also keep him at the fringes of the film world, barring him the popularity he deserves. This is too bad since he brings as much to the art of independent film as Scorcese does to the Hollywood film. Yet Korine will never have the accessibility of the other.
In this film, Korine reveals the character of Julien not only through his actions, but via his reactions to those around him and to his environment. This is a hard task for a filmmaker to achieve since those who don't know the particular "reason" for a scene or for its purpose, will be lost. The film demands an aggressive viewer, one who wants to share the boldness of the director's vision, while deciphering it through his or her own knowledge of film conventions and prior knowledge.
Julien Donkey-Boy is not as emotionally powerful as Korine's previous film, Gummo, yet it is just as important in what it has to say about film as a medium of communication, and, about the people who are living at the margins of society.
Gripping, the Whole Way Through
jmverville19 October 2004
I found this film to be very interesting and gripping, especially the role of Julien's father played by Werner Herzog. The film lures one in from the very beginning, and keeps you interested until the very end. I felt as if everything from the acting to the soundtrack, to the filming was creative, original, and capturing.
Korine really shows here what can be done with film when he pushes the limits -- and in so pushing the limits he still comes up with a very good film that I feel is better than his first (Gummo). Not only is the film a sort of commentary on mental illness and differences in general, but it is also an infinitely intriguing film.
What stands out about this film is that through its' often very surreal experiences you can often find greater bits of reality in it; I felt that the film embraced a sense of total freedom that one needs for it really to be Art, but still had a concise guidance that made it very viewable and entertaining at the same time. This is a film that truly keeps your interest from start to finish.
Korine really shows here what can be done with film when he pushes the limits -- and in so pushing the limits he still comes up with a very good film that I feel is better than his first (Gummo). Not only is the film a sort of commentary on mental illness and differences in general, but it is also an infinitely intriguing film.
What stands out about this film is that through its' often very surreal experiences you can often find greater bits of reality in it; I felt that the film embraced a sense of total freedom that one needs for it really to be Art, but still had a concise guidance that made it very viewable and entertaining at the same time. This is a film that truly keeps your interest from start to finish.
a soul crushing, comical, and disturbing art film
framptonhollis21 August 2017
This movie isn't for everyone, and both fans and detractors of the film must accept that. Someone who loves this film isn't automatically "pretentious" and someone who hates it isn't automatically "too stupid" for "art". That being said, I feel as if this film should at least be given a chance by everybody whose interested deeply in the movies. It is in no way a conventional film, it combines all sorts of styles and moods while still miraculously maintaining all of the requirements to be labeled officially as a dogme 95 film. In itself, that is quite the achievement, but Korine's brilliant film goes lightyears beyond accomplishing only that.
Most people may believe that there is a fine line between comedy and tragedy, at least in most cases, but I fervently disagree, and films like "Julien Donkey-Boy" could be the best evidence I have for this belief. Harmony Korine does not bore audiences with constant brooding drama, but he does not pander to them by providing constant comedy. Instead, he shakes things up a bit on a scene by scene basis, or sometimes just on a minute to minute basis, or even a second to second basis; there are scene in this film that tackle the very difficult task of being both roaringly funny and deeply sad in a comparable fashion to such gems as "Happiness" or "Lolita". The film focuses on many troubling, disturbing themes, including mental illness, incest, death, abuse (physical and mental), deformity, loneliness, sadness, etc, but it's hardly ever downright depressing. It is tense and shocking, but only rarely can I say it made me feel really bad, and whenever it did that's because it was supposed to, and I realized that n these moments Korine is just doing his job, and he's doing it absolutely wonderfully.
"Julien Donkey-Boy" is an intensely evocative and emotional experience filled with memorable characters and moments, bits and pieces of philosophical dialogue, awkward black humor, perverse behavior, terrifying imagery, disorienting editing, avant garde beauty, and plenty more are constantly showcased during the entirety of this entertaining, yet artistically extreme and highly ambitious (to an almost unrealistic level) film. You may love it, you may hate it, you may love some moments, and you may hate others. It can be seen as either a huge, tonally confused mess or a refreshingly original take on the dysfunctional family drama (if that's even what it wants to replicate, implying that such a cryptically bizarre film would really want to replicate anything). It's got moments that made me laugh out loud and others that made me choke on my own tears. There is one scene in which a man swallows a shocking amount of lighted cigarettes, and other scenes include a rapping albino, a man without any arms who drums with his feet, and plenty more. These are real people that see to have been plopped into a fictional world, Harmony Korine lets his imagination run wild despite dogme 95's extreme limitations. He's a fearlessly unique and surreal filmmaker, a man whose films make my mind explode with confusion, happiness, and melancholy. Too bad he had to go on to make sh*t like "Trash Humpers"...
Most people may believe that there is a fine line between comedy and tragedy, at least in most cases, but I fervently disagree, and films like "Julien Donkey-Boy" could be the best evidence I have for this belief. Harmony Korine does not bore audiences with constant brooding drama, but he does not pander to them by providing constant comedy. Instead, he shakes things up a bit on a scene by scene basis, or sometimes just on a minute to minute basis, or even a second to second basis; there are scene in this film that tackle the very difficult task of being both roaringly funny and deeply sad in a comparable fashion to such gems as "Happiness" or "Lolita". The film focuses on many troubling, disturbing themes, including mental illness, incest, death, abuse (physical and mental), deformity, loneliness, sadness, etc, but it's hardly ever downright depressing. It is tense and shocking, but only rarely can I say it made me feel really bad, and whenever it did that's because it was supposed to, and I realized that n these moments Korine is just doing his job, and he's doing it absolutely wonderfully.
"Julien Donkey-Boy" is an intensely evocative and emotional experience filled with memorable characters and moments, bits and pieces of philosophical dialogue, awkward black humor, perverse behavior, terrifying imagery, disorienting editing, avant garde beauty, and plenty more are constantly showcased during the entirety of this entertaining, yet artistically extreme and highly ambitious (to an almost unrealistic level) film. You may love it, you may hate it, you may love some moments, and you may hate others. It can be seen as either a huge, tonally confused mess or a refreshingly original take on the dysfunctional family drama (if that's even what it wants to replicate, implying that such a cryptically bizarre film would really want to replicate anything). It's got moments that made me laugh out loud and others that made me choke on my own tears. There is one scene in which a man swallows a shocking amount of lighted cigarettes, and other scenes include a rapping albino, a man without any arms who drums with his feet, and plenty more. These are real people that see to have been plopped into a fictional world, Harmony Korine lets his imagination run wild despite dogme 95's extreme limitations. He's a fearlessly unique and surreal filmmaker, a man whose films make my mind explode with confusion, happiness, and melancholy. Too bad he had to go on to make sh*t like "Trash Humpers"...
Mostly effective fragmentation; Herzog steals the scenes.
Corinthian10 October 1999
Saw this one at the Toronto Film Fest as well. Some will love it, and I'm willing to bet a lot of people will hate it. The cast is stellar, but Werner Herzog, who plays the father, really shined, especially in the hilarious scenes where he "trains" his son into becoming a winning wrestler.
Often, when watching this film, you won't be sure how to react, or how you should react. But it is nonetheless provocative, and should be worth the hour and a half even if you end up hating it.
Korrine does fail, though, in the length of certain scenes. Some seemingly insignificant scenes are drawn out much too long, leaving the audience checking their watches, and taking away the emphasis from other scenes that where justifiably long.
Korrine also seems to take pleasure in incorporating the odd and freakish in his films, including a multi-cigarette eating man and an armless drummer (the latter which I had met in a motivational conference that was held when I attended high school).
Overall a commendable piece, though it's no Kids. And though I feel Dogme95 is more limiting and self-serving than anything, it sure beats $140 million to make Armageddon.
Often, when watching this film, you won't be sure how to react, or how you should react. But it is nonetheless provocative, and should be worth the hour and a half even if you end up hating it.
Korrine does fail, though, in the length of certain scenes. Some seemingly insignificant scenes are drawn out much too long, leaving the audience checking their watches, and taking away the emphasis from other scenes that where justifiably long.
Korrine also seems to take pleasure in incorporating the odd and freakish in his films, including a multi-cigarette eating man and an armless drummer (the latter which I had met in a motivational conference that was held when I attended high school).
Overall a commendable piece, though it's no Kids. And though I feel Dogme95 is more limiting and self-serving than anything, it sure beats $140 million to make Armageddon.
Probably the worst film I've ever seen.
Samsterp24 April 2009
Warning: Spoilers
When I think of the world of cinema, I understand that while most films are designed to entertainment or inform, others focus more on the artistic side. However, when watching Julien Donkey-Boy, all I see is an extremely dull mess, which is far from entertaining and something I'd rather label pointless than artistic. While some of what we see may be to show the world through Julien's eyes, there's so much that really doesn't seem to make any kind of statement or prove any sort of point. One of the best examples has to be a few shots of a masturbating nun.. why? It just seems like Korine is trying to add controversy for the sake of it.
And while I don't mind films that don't have a steadily progressing narrative, seeing scene after scene of awful "artistic" cinematic techniques, such as using jump-cuts and slashed up sound (thus making scenes impossible to understand..), isn't something I enjoy.
It was extremely difficult to come up with any positives.. but I have to admit that the acting is superb. Werner Herzog in particular can be very funny at times. However these are the only redeeming features in an otherwise shockingly poor film.
While I don't regret watching Julien Donkey-Boy, as I'm open to all kinds of cinema (even after watching this..), it's certainly something I will never watch again, nor recommend to a friend, and I hope I never have to endure another film that's even nearly as bad. If you want a good Dogme film, go see Festen.
And while I don't mind films that don't have a steadily progressing narrative, seeing scene after scene of awful "artistic" cinematic techniques, such as using jump-cuts and slashed up sound (thus making scenes impossible to understand..), isn't something I enjoy.
It was extremely difficult to come up with any positives.. but I have to admit that the acting is superb. Werner Herzog in particular can be very funny at times. However these are the only redeeming features in an otherwise shockingly poor film.
While I don't regret watching Julien Donkey-Boy, as I'm open to all kinds of cinema (even after watching this..), it's certainly something I will never watch again, nor recommend to a friend, and I hope I never have to endure another film that's even nearly as bad. If you want a good Dogme film, go see Festen.
A force of nature directing a troubled one
StevePulaski28 March 2013
Let's be brutally honest here for a second; if you choose to check out Julien Donkey-Boy after reading this review, I will consider you a brave and ambitious soul. If you like the film after watching it, I will consider you an admirable one. Harmony Korine's Julien Donkey-Boy is a difficult film to endure for ninety-nine minutes; a complex and crippling one. It twists your emotions, saddens the soul, and repulses every preconceived notion, or lack thereof, you had entering the film in the first place.
Korine's first picture in 1997 was called Gummo, and it stands as one of the most lurid, controversial pictures of the nineties decade. The film utilized a non-linear narrative, stringing scenes together with little continuity and providing an unblinking look at a scummy town in Ohio that was ravaged by a tornado and never fully recovered. It was a true cinematic wonder, and still remains that way in 2013. Korine followed Gummo up with Julien Donkey-Boy, a film done in the style of "Dogme 95," a filmmaking movement that focused on the naturalism of dialog, story, and plot-progression by using hand-held cameras, source sound, lighting, and props. It also prohibited that directors be credited from their work, so Harmony Korine isn't even known as the official director of this film.
The plot: Julien (Ewen Bremner) is a young, schizophrenic man who lives in his home with his extremely dysfunctional family, consisting of his instigating father (the great German director Werner Herzog), his passive brother Chris (Evan Neumann), and his sister Pearl (Chloë Sevigny), who is carrying Julien's child. We see the world through Julien's eyes, as he rarely leaves the screen for more than a minute. We see the unrelenting madness that unfolds in his home, and sometimes, we become submerged so deeply into Julien's baffling, schizophrenic mind that the film begins to become incoherent and blurry. When I say "blurry," I mean that quite literally, as the film was shot on a DV tape, converted to 16mm (already a sketchy transfer), and finally blown up to 35mm, giving the film an extremely grainy and visually washed-out look.
There's something to be said about Ewen Bremner, who is completely terrific here in a beyond difficult role. Bremner was made famous by his role in Trainspotting, and here, he embodies a character unlike anything else currently present in his filmography. This is the kind of role veteran actors fear taking on, and this is the kind of the story veteran directors neuter or make easier to digest for the public. Not Korine; every project he has done thus far has been exercised to almost complete full-force. He's an uncompromising auteur, putting character before plot and impact before publicity to ensure long-term memorability. He's a requirement for cinema.
When I say "uncompromising," take for example the scene where Pearl falls on the ice-rink, with lethal consequences to someone close to her. This scene is polarizing and frightening all the more. It left me with a boiling feeling of sadness, and had such an impact on me that it never left my thoughts for the remainder of the day. Take another scene, for example, when we see how Julien's father shamelessly bullies him by soaking him with the hose and demanding that he "don't shiver." Or even the scene where Julien pretends he's God and Adolf Hitler simultaneously.
I can compare this to Gummo in the regard of shock, but Julien Donkey-Boy is showing something a tiny bit more distant from reality. To elaborate, Gummo is showing a culture and a town that very well could be real, but it isn't directly based off of any specific part of the world. Yet the problems dealt with in that film since as loss of innocence, vandalism, animal abuse, rape, etc are apparent in our society. Schizophrenia is a mental-disease with effects like those portrayed in the film, and therefore, the reality is more distorted as we are seeing it from the title character's perspective. Both pictures are viscerally gripping for the opposite reason; one shows a toxic reality, while the one merges toxic reality with an even more hypnotic and smothering one.
Julien Donkey-Boy is a hard film to get through, and at one-hundred minutes, can be occasionally maddening. We're being bombarded with so much repulsion and depravity that it becomes a bit of an overload. With that said, the overall disjointedness and the grainy aesthetic can be a bit much, too. But all those reasons are the same reason that I liked the film so much. Korine is a force of nature, one who seems to often rebel, test, and manipulate the rules of cinema to fit his own tendencies, regardless of how explicit or inane they may be. I wouldn't have him, or this film, any other way the more I think about it.
Starring: Ewen Bremner, Chloë Sevigny, Werner Herzog, and Evan Neumann. Directed by: Harmony Korine.
Korine's first picture in 1997 was called Gummo, and it stands as one of the most lurid, controversial pictures of the nineties decade. The film utilized a non-linear narrative, stringing scenes together with little continuity and providing an unblinking look at a scummy town in Ohio that was ravaged by a tornado and never fully recovered. It was a true cinematic wonder, and still remains that way in 2013. Korine followed Gummo up with Julien Donkey-Boy, a film done in the style of "Dogme 95," a filmmaking movement that focused on the naturalism of dialog, story, and plot-progression by using hand-held cameras, source sound, lighting, and props. It also prohibited that directors be credited from their work, so Harmony Korine isn't even known as the official director of this film.
The plot: Julien (Ewen Bremner) is a young, schizophrenic man who lives in his home with his extremely dysfunctional family, consisting of his instigating father (the great German director Werner Herzog), his passive brother Chris (Evan Neumann), and his sister Pearl (Chloë Sevigny), who is carrying Julien's child. We see the world through Julien's eyes, as he rarely leaves the screen for more than a minute. We see the unrelenting madness that unfolds in his home, and sometimes, we become submerged so deeply into Julien's baffling, schizophrenic mind that the film begins to become incoherent and blurry. When I say "blurry," I mean that quite literally, as the film was shot on a DV tape, converted to 16mm (already a sketchy transfer), and finally blown up to 35mm, giving the film an extremely grainy and visually washed-out look.
There's something to be said about Ewen Bremner, who is completely terrific here in a beyond difficult role. Bremner was made famous by his role in Trainspotting, and here, he embodies a character unlike anything else currently present in his filmography. This is the kind of role veteran actors fear taking on, and this is the kind of the story veteran directors neuter or make easier to digest for the public. Not Korine; every project he has done thus far has been exercised to almost complete full-force. He's an uncompromising auteur, putting character before plot and impact before publicity to ensure long-term memorability. He's a requirement for cinema.
When I say "uncompromising," take for example the scene where Pearl falls on the ice-rink, with lethal consequences to someone close to her. This scene is polarizing and frightening all the more. It left me with a boiling feeling of sadness, and had such an impact on me that it never left my thoughts for the remainder of the day. Take another scene, for example, when we see how Julien's father shamelessly bullies him by soaking him with the hose and demanding that he "don't shiver." Or even the scene where Julien pretends he's God and Adolf Hitler simultaneously.
I can compare this to Gummo in the regard of shock, but Julien Donkey-Boy is showing something a tiny bit more distant from reality. To elaborate, Gummo is showing a culture and a town that very well could be real, but it isn't directly based off of any specific part of the world. Yet the problems dealt with in that film since as loss of innocence, vandalism, animal abuse, rape, etc are apparent in our society. Schizophrenia is a mental-disease with effects like those portrayed in the film, and therefore, the reality is more distorted as we are seeing it from the title character's perspective. Both pictures are viscerally gripping for the opposite reason; one shows a toxic reality, while the one merges toxic reality with an even more hypnotic and smothering one.
Julien Donkey-Boy is a hard film to get through, and at one-hundred minutes, can be occasionally maddening. We're being bombarded with so much repulsion and depravity that it becomes a bit of an overload. With that said, the overall disjointedness and the grainy aesthetic can be a bit much, too. But all those reasons are the same reason that I liked the film so much. Korine is a force of nature, one who seems to often rebel, test, and manipulate the rules of cinema to fit his own tendencies, regardless of how explicit or inane they may be. I wouldn't have him, or this film, any other way the more I think about it.
Starring: Ewen Bremner, Chloë Sevigny, Werner Herzog, and Evan Neumann. Directed by: Harmony Korine.
drifts but has its moments
aho19 January 2000
As far as content goes, the story really only begins in the last ten minutes, and the film ends at the exact moment when things get interesting. The film wanders, but occasionally has some humorous or engaging moments, due mainly to oddball characters captured in a documentary style. As for form, the movie seems to be an exercise in making Digital Video look like something other than Digital Video, and the filmmakers actually pull it off most of the time, usually through lighting. It's worth seeing once, even if only for Warner Herzog's performance as the Dad- he gets the best lines.
Art or complete crap?
mikewiebe9 July 2005
Warning: Spoilers
I have read a lot of comments calling this film "Art", actually recommending it. There is no "Art" to be found in Julien, just a dizzying waste of my time. The camera work and sound make it pretty much unwatchable, I felt sick at times watching it on a big screen. I get that Harmony Korine did this on purpose to have us feel disorientated, like Julien feels all the time, but he takes it way to far and created a horrible looking mess.
I liked Gummo, it was one of the most disturbing films I have ever seen, so I was very much looking forward to Julien Donkey-Boy, I was very disappointed.
If Julien Donkey-Boy is what is passing for "Art" these days, I am out of touch with society. Everyone who thought this film was actually good, try watching it sober and without the drugs. Hopefully Harmony will get off the smack too when and if he makes another film.
Art or complete crap? If it smells and looks like crap, it probably is crap. At the very best it is extremely crappy art.
I liked Gummo, it was one of the most disturbing films I have ever seen, so I was very much looking forward to Julien Donkey-Boy, I was very disappointed.
If Julien Donkey-Boy is what is passing for "Art" these days, I am out of touch with society. Everyone who thought this film was actually good, try watching it sober and without the drugs. Hopefully Harmony will get off the smack too when and if he makes another film.
Art or complete crap? If it smells and looks like crap, it probably is crap. At the very best it is extremely crappy art.
Amazing film.
thomaswatchesfilms17 April 2006
To represent the life of a schizophrenic through the medium of film, would be quite challenging, really. How could you possibly relate the total random madness and desperate attempts at self-control of a madman onto film? One would be wise to choose Dogme 95, as the life of these unfortunate people seems to be affected by and largely governed by, a series of rigid and obtuse beliefs, regimens or rituals put in place to form some sort of foundation in an otherwise random, "crazy" existence. They then hold fast to this foundation for dear life - white knuckles. Since these "rules" they live by come from insanity in the first place, and are not typically adaptable, or flexible, as life would require them to be, everything they attempt becomes convoluted and lost in madness and confusion. And so everything is completely unsettled, because they can't adapt. Dogme 95, with its odd, rigid requirements, vis-a-vis the "Vow of Chastity" (www.dogme95.dk) goes a long way toward capturing that dynamic.
This film comes pretty close to nailing the day-in, day-out obstacles that mentally ill people must encounter, making something as simple as a bus ride to work a harrowing adventure fraught with slopes. The whole thing reminds me of the LSD scene in "Easy Rider" with the call girls in the grave yard. That was as close as I have ever seen to a realistic depiction of an acid trip in a film (you'll have to trust me on this one folks...), and this film has the same feel of reality to it. Almost as if it were a film about a schizophrenic, directed by and acted by schizophrenics. It's amazing.
Bremner is brilliant. I didn't even recognize him until I read the credits, and afterward I believed that he should have been awarded for this outing - just completely convincing. Almost as if this were a documentary. He just acts so completely mentally ill, it's amazing. He even somehow affects not only the dress, but the postures, facial expressions and characteristics that make him appear to be genuinely mentally ill. Wow.
Herzog's character is just so completely weird and obtuse and out of place in our culture that he is perfect here. Makes you wonder about other people you see walking around.
Not hugely entertaining in terms of plot, but a real treat for someone who wants to be compelled by the film maker's art. Harmony Korine is way smarter than me and you, folks. And I think it's way cool he can get his hands on film equipment. He is pushing the envelope, which is a lot more than I can say for most directors. Safe is boring.
Regard this film in the context of the first scene when Julien has his encounter with the "Pond Boy" and a plot emerges. What we see within the first two or three minutes is just astoundingly disturbing, and will clearly have consequences on the rest of Julien's life - all of their lives. Relate the rest of the film back to the first scene, and it's really rather sad. Everything that ensues has that hanging over it. You know that no matter what those people do, some day there will be a knock on the door and everything will unravel. Or will it? How could they be any more odd and troubled than they already are?
This film comes pretty close to nailing the day-in, day-out obstacles that mentally ill people must encounter, making something as simple as a bus ride to work a harrowing adventure fraught with slopes. The whole thing reminds me of the LSD scene in "Easy Rider" with the call girls in the grave yard. That was as close as I have ever seen to a realistic depiction of an acid trip in a film (you'll have to trust me on this one folks...), and this film has the same feel of reality to it. Almost as if it were a film about a schizophrenic, directed by and acted by schizophrenics. It's amazing.
Bremner is brilliant. I didn't even recognize him until I read the credits, and afterward I believed that he should have been awarded for this outing - just completely convincing. Almost as if this were a documentary. He just acts so completely mentally ill, it's amazing. He even somehow affects not only the dress, but the postures, facial expressions and characteristics that make him appear to be genuinely mentally ill. Wow.
Herzog's character is just so completely weird and obtuse and out of place in our culture that he is perfect here. Makes you wonder about other people you see walking around.
Not hugely entertaining in terms of plot, but a real treat for someone who wants to be compelled by the film maker's art. Harmony Korine is way smarter than me and you, folks. And I think it's way cool he can get his hands on film equipment. He is pushing the envelope, which is a lot more than I can say for most directors. Safe is boring.
Regard this film in the context of the first scene when Julien has his encounter with the "Pond Boy" and a plot emerges. What we see within the first two or three minutes is just astoundingly disturbing, and will clearly have consequences on the rest of Julien's life - all of their lives. Relate the rest of the film back to the first scene, and it's really rather sad. Everything that ensues has that hanging over it. You know that no matter what those people do, some day there will be a knock on the door and everything will unravel. Or will it? How could they be any more odd and troubled than they already are?
Interesting
jaydin72518 April 2007
Not a mainstream film for sure, but if you liked other Harmony Korine films you would probably like it. It was filmed under the rules of Dogme 95 or something like that and so a hand-held camera was used the entire film. I didn't like that much, I would have rather it been filmed like a regular movie, it could have been so much more than it was if some of the monotonous sequences were cut out. At sometimes it is awfully slow moving, but despite that an interesting depiction is made. There is no particular meaning to the film, which I think is fine, but some prefer a plot line of some sort. The actor that played Julien was brilliant and there were actually some really comedic parts in the film. Of course there were darker parts, but they were brilliant as well.
Blatant example of style over content with a grossly inaccurate portrayal of schizophrenia
mcdunley13 February 2006
Every so often a "new style of cinema" comes along that is totally original and innovative and which can influence a horde of followers and imitators. Julien Donkey-Boy is Harmony Korine's attempt to follow in the footsteps of filmmakers Vinterburg and Von Triers and make a film according to the guidelines they set in their "Dogme '95". However, while this approach served a film like Vinterburg's "Festen" incredibly well by giving a sense of reality to the narrative through improvisation and the use of hand-held camera, in this film the Dogme guidelines are used for very self-indulgent purposes (e.g. the over-use of Herzog's improvisational turns and the dead fetus theft incident at the end of the film, which has no moral purpose or message but is used, IMO, as a means of mimicking the "bad taste" elements of the previous Dogme films "The Idiots" and "Festen"). The narrative is also not very coherent, with many inconsequential and unnecessary scenes (e.g. the therapy-session and the "Foot drummer" scenes). As a result, this film comes off as a cheap imitation of the previous Dogme films; more obsessed with style than the accompanying narrative.
To add insult to injury, Julien Donkey-Boy is also one in a long line of films that gives a completely inaccurate portrayal of a person suffering from the psychological disorder schizophrenia (other examples: Me, Myself and Irene, The Cell......). Although this may sound like a nitpicking point for film buffs (since accurate portrayal does not necessarily equate to a great film), the problem with the inaccurate portrayal in this case is that the central character (Julien Donkey-Boy) is reduced to a series of mannerisms performed by Ewen Bremner. The result of this reductionist approach to the central character means that the audience never really gets to grips with the character and can never truly understand what is going on inside his mind; instead we get an actorly mimic of a genuinely schizophrenic person (apparently, this character was modeled on Korine's uncle).
To conclude, this film is, IMO, a gross example of style over content with many examples of bad taste and self-indulgence.
To add insult to injury, Julien Donkey-Boy is also one in a long line of films that gives a completely inaccurate portrayal of a person suffering from the psychological disorder schizophrenia (other examples: Me, Myself and Irene, The Cell......). Although this may sound like a nitpicking point for film buffs (since accurate portrayal does not necessarily equate to a great film), the problem with the inaccurate portrayal in this case is that the central character (Julien Donkey-Boy) is reduced to a series of mannerisms performed by Ewen Bremner. The result of this reductionist approach to the central character means that the audience never really gets to grips with the character and can never truly understand what is going on inside his mind; instead we get an actorly mimic of a genuinely schizophrenic person (apparently, this character was modeled on Korine's uncle).
To conclude, this film is, IMO, a gross example of style over content with many examples of bad taste and self-indulgence.
Twisted
LLAAA48373 January 2006
As people see things, things see us. This extremely disturbing film about a man/boy with schizophrenia struggling through life with his twisted and mentally abusive dad, his sister who is pregnant with his baby, and his abused brother, is terrifyingly weird. With a film in which a boy is brutally smashed in the head with a stone and choked to death, a nun masturbates on the floor, and a armless man plays the drums, it is completely obvious that this film will only appeal to certain people. This film is freakish, but not in as good a way as GUMMO was. With all this being said, while the film was a hellish and emotional picture that is not for the mainstream(to say the least), I would never ever want to really see it again. This was just too much. It made me feel unclean in a way much deeper tan GUMMO. I felt my mind was permanently warped. I never want to even think about this film ever again. Thinking about it makes me feel nauseous. The images and the characters and the actions of them have gotten to me and Of course, this was probably Harmony Korine's intention. Many viewers won't feel the images they are seeing are necessary to for the to see. It is kind of a freak show in a way. It isn't so much the content that is bad. There are many events in the film that just feel wrong. Take for instance the scene where Julien attempts to sell skating shoes he made. He attempts to sell them to a boy who does not listen to what he has to say about his purportedly useless invention and instead swears and yells at him, telling him in exaggerated form that the shoes will kill people and that he wouldn't pay any money for them. The scene has no purpose other than to seemingly be insulting and depressing to the viewer who has already had their fair share of depressing events throughout the film. And yet it is done in such a way that is very lifelike and very realistic in terms of how the scene is constructed, but it seems so weird to want to film this sort of behavior. It has also been well known that for this film project, Harmony recorded real people's reactions of some of the strange behavior with hidden cameras. This adds genuine realism to the film along with the nasty stuff, as if it didn't have enough. It's a tough film to sit through. I think it's a good film, but I don't recommend it for fear that people will think I'm a sicko for thinking they will like it.
i enjoyed this movie much more than i expected...
LeoBloom-26 November 1999
having read all of the reviews of this new experiment from Harmony Korine, i was prepared for a rough, baffling, and possibly somewhat painful movie-going experience. the truth is, though, that i not only found this movie completely watchable, but i found it to have a STRONG emotional core and a cohesive thematic tract (and very funny, in parts...though i can never tell with Korine what is supposed to be funny and what is not). don't get me wrong: this is by no stretch conventional drama. in fact, there's hardly any drama here at all (the closest thing to real drama comes in the scenes with Werner Herzog's unbelievably abusive character). the emotion here comes from something that i can only call purely cinematic. the downright abstract editing juxtaposed with the hyperrealism of the Dogma 95 camerawork really makes for an intense visual experience. and the individual scenes tend to make more sense than in Korine's previous work (particularly Gummo). certainly, some of the scenes seem a bit excessive. i suppose if you tried to view this (or any of Korine's work) as some kind of social commentary, then you would inevitably be offended at some of the things here. but this isn't social commentary; this world on the screen is by no means a convincing depiction of the real world. every person on the screen is somehow sick or outcast, and i guess the major theme of the film is simply how we deal with our individual sicknesses. i guess this is a film that if you have a strong interest in seeing it in the first place, then you will really get something out of it. if you have no interest in seeing it, then chances are you'll never even hear about this movie (and you'll never read this commentary). for my money, Harmony Korine is no dilettante (and no slut!); he is one of the few true individuals making movies today.
Pros and cons
benjyboom21 March 2020
Warning: Spoilers
Pros:
Nice editing
Good camerawork
Strong characters
Cons: Not too many scenes are really interesting A lot of dialogue is indecipherable
Best part: hosing down in the driveway Worst part: the ice skate part, not too effective or surprising
Cons: Not too many scenes are really interesting A lot of dialogue is indecipherable
Best part: hosing down in the driveway Worst part: the ice skate part, not too effective or surprising
Bile Inducing
The Gryphon23 January 2005
I must not be smart enough to appreciate this movie. I loved Gummo, however, (the director's previous attempt) but this one slipt past me somehow. It's supposed to be one of those artsy-fartsy movies from the Dogme '95 schools, which I only just now learned about. That means something like you can only use the props you find at the site of filming, use only available light, and the director cannot be credited, among other things. After seeing "Julien Donkey Boy" I can understand why the director isn't credited. The movie's a mess. Don't know what the plot is, or if there's supposed to be one. Sitting through this movie was very difficult. A waste of time. But then, I guess those who loved it will just say I didn't get the point. Amen to that.
My take, spoilers included, in contrast with most others
misterreid22 January 2004
Warning: Spoilers
I find this film beautiful and transcendent.
First, I'd like to say that those of you who watch Korine's films because you liked Kids will be very disappointed. To me, Kids is like all of Larry Clark's films, the indulgent fantasies of a pederast passed off as art. Korine has stated he is "completely indifferent" about both him as a person and his films, including the ones he wrote. When someone offers you a screen writing job at 18, you take it. It enabled him to create Gummo and JDB, so there's little room for complaint.
Superficially, I'll say (as a person who has spent time in mental hospitals as both patient and staff), this is the most honest portrayal of both schizophrenia and mental illness in general that I've ever seen. Nearly every other film dealing with this subject matter is simply an established actor's cowardly attempt to dazzle critics. I think Ewan Bremner captures the cadences and spontaneity without flaw.
The grainy quality was intentional, achieved by transferring to Super8 before 35mm. The effect may be difficult for some to stomach, but there are moments where it seems to perfect the already beautiful images. In particular, I'm in love with these: Pearl (Sevigny)walking through the field (of the same color as her hair) singing a contemporary hymn, the sequences of Chrissy (blind girl) ice-skating, "grandymama" trying to coax the dog back in the house as it prances through snow (again, of the same color), Pearl cutting father(Herzog)'s hair as 'grandymama' watches intently from the window, Julien in the confession booth; I could go on and on.
Regarding the oedipal complex/surrogate mother theme, my take is that Pearl never quite fills the shoes of their mother. Another poster mentioned that the professional ice-skater is his image of his mother, and I agree. He loves his sister very much, but it seems only Chrissy approaches the idealized grace of his mother, indicated by the parallel ice-skating sequences mentioned above. Again, this is my perception and it could be flawed.
I can't say much about Herzog's performance that hasn't already been said, it's simply stunning. And those who hated this movie and were 'surprised' by his appearance seem to be missing the point.
I find the religious themes very interesting, in the contrast between Julien's confusion and the blind men's unwavering inspiration and faith. There's no clear 'message', as there are very few in real life.
I could go on for hours.
9.5/10
First, I'd like to say that those of you who watch Korine's films because you liked Kids will be very disappointed. To me, Kids is like all of Larry Clark's films, the indulgent fantasies of a pederast passed off as art. Korine has stated he is "completely indifferent" about both him as a person and his films, including the ones he wrote. When someone offers you a screen writing job at 18, you take it. It enabled him to create Gummo and JDB, so there's little room for complaint.
Superficially, I'll say (as a person who has spent time in mental hospitals as both patient and staff), this is the most honest portrayal of both schizophrenia and mental illness in general that I've ever seen. Nearly every other film dealing with this subject matter is simply an established actor's cowardly attempt to dazzle critics. I think Ewan Bremner captures the cadences and spontaneity without flaw.
The grainy quality was intentional, achieved by transferring to Super8 before 35mm. The effect may be difficult for some to stomach, but there are moments where it seems to perfect the already beautiful images. In particular, I'm in love with these: Pearl (Sevigny)walking through the field (of the same color as her hair) singing a contemporary hymn, the sequences of Chrissy (blind girl) ice-skating, "grandymama" trying to coax the dog back in the house as it prances through snow (again, of the same color), Pearl cutting father(Herzog)'s hair as 'grandymama' watches intently from the window, Julien in the confession booth; I could go on and on.
Regarding the oedipal complex/surrogate mother theme, my take is that Pearl never quite fills the shoes of their mother. Another poster mentioned that the professional ice-skater is his image of his mother, and I agree. He loves his sister very much, but it seems only Chrissy approaches the idealized grace of his mother, indicated by the parallel ice-skating sequences mentioned above. Again, this is my perception and it could be flawed.
I can't say much about Herzog's performance that hasn't already been said, it's simply stunning. And those who hated this movie and were 'surprised' by his appearance seem to be missing the point.
I find the religious themes very interesting, in the contrast between Julien's confusion and the blind men's unwavering inspiration and faith. There's no clear 'message', as there are very few in real life.
I could go on for hours.
9.5/10
I've only seen clips on youtube...
Taotrac4 August 2010
...but I honestly think that is exactly what Harmony Korine makes his films to be. With his newest film, Trash Humpers, being filmed as part improv/part 'what would happen if a buncha old people seriously filmed their own J@ckA$$ and then left it at Goodwill for someone to find', it really brings even more light to why Korine has his style. I'd explain his style any day as Home Funniest (And Most Autistic) Videos. His films are random clips throw together for the most part, and he wrote a book like that too. It's just a style you have to accept and get over it.
But the magic is really in those clips. Sometimes Korine misses, sometimes he creates a scene that reaches out to you in a special way that is unique to every person watching. I personally love Korine's work because I was born with a mild mental/physical syndrome, I have a billion weird fetishes, I had a very strange mind as I child, I had extremely domineering parents, etc etc. Since Korine grew up an hour from me, he knows the culture in the South very well, and this reflects in all his films. In all, I think I actually connect with his films out of experience, not because I'm looking for something artistic. Korine is just a factor in my life who happened to pop up because of a bunch of extremely strange coincidences, and it's also in that coincidence that I like his work. If someone told me about him before I discovered the magic myself, I'd have been like 'Wtfcat'.
And that's how I'd describe Julien, as well as Gummo and Trash Humpers. Either Korine has, out of fate, woven himself into your life, or he hasn't. He's created films that are supposed to be thrown into 50 cent sale bins so that people can pick up his mess for cheap, watch it, and laugh at it, make fun of it, destroy it afterward, set it on fire, love it, or just whatever they want. He's never made a film to make money, he makes films that are made to look like trash, and then he thinks people actually want to watch it. And well, he happens to be right, no matter what he does, he happens to make clips that make me smile.
So at the end of the day, his Youtube previews are the best (someone else usually edits the Official Previews, as Korine usually does not pick great editors for the final film, and so the previews always cheer me up better). But besides them, it's also fun just to scour around Youtube and see what secret scene I can find from Donkey-boy. My favorite so far is the scene where he's washing the girl's feet, and Herzog pwns (did you know he just directed Bad Cop: Port Call? weird :P).
Idk, I like HK's films, I think anyone who gets complex about him either; a. is fooling themselves, or b. hasn't been through the things he portrays in his films. I do think HK makes these films for autistic people to relate to, rather than giving a normal person a view of their world. At least thats what I think.
But the magic is really in those clips. Sometimes Korine misses, sometimes he creates a scene that reaches out to you in a special way that is unique to every person watching. I personally love Korine's work because I was born with a mild mental/physical syndrome, I have a billion weird fetishes, I had a very strange mind as I child, I had extremely domineering parents, etc etc. Since Korine grew up an hour from me, he knows the culture in the South very well, and this reflects in all his films. In all, I think I actually connect with his films out of experience, not because I'm looking for something artistic. Korine is just a factor in my life who happened to pop up because of a bunch of extremely strange coincidences, and it's also in that coincidence that I like his work. If someone told me about him before I discovered the magic myself, I'd have been like 'Wtfcat'.
And that's how I'd describe Julien, as well as Gummo and Trash Humpers. Either Korine has, out of fate, woven himself into your life, or he hasn't. He's created films that are supposed to be thrown into 50 cent sale bins so that people can pick up his mess for cheap, watch it, and laugh at it, make fun of it, destroy it afterward, set it on fire, love it, or just whatever they want. He's never made a film to make money, he makes films that are made to look like trash, and then he thinks people actually want to watch it. And well, he happens to be right, no matter what he does, he happens to make clips that make me smile.
So at the end of the day, his Youtube previews are the best (someone else usually edits the Official Previews, as Korine usually does not pick great editors for the final film, and so the previews always cheer me up better). But besides them, it's also fun just to scour around Youtube and see what secret scene I can find from Donkey-boy. My favorite so far is the scene where he's washing the girl's feet, and Herzog pwns (did you know he just directed Bad Cop: Port Call? weird :P).
Idk, I like HK's films, I think anyone who gets complex about him either; a. is fooling themselves, or b. hasn't been through the things he portrays in his films. I do think HK makes these films for autistic people to relate to, rather than giving a normal person a view of their world. At least thats what I think.
Even worse than "Gummo"
filmstudentalpha20 January 2000
WARNING: THIS CRITICAL REVIEW GIVES AWAY ONE (1) RATHER INSIGNIFICANT STORY EVENT.
Although Harmony Korine's latest film proudly flaunts its "Dogma 95" minimalist seal of approval, Korine has little else to be proud of with "julien donkey-boy," save for the fact that unsuspecting people are actually paying money to see it > Featuring the shakiest camera work since "The Blair Witch Project," the experimental, mostly improvised "julien" has even less of a coherent storyline and structure than Korine's last stink bomb, "Gummo." Yet the young writer/director is ever-insistent on grabbing the audience's attention with concepts that the general public finds vile (incest, transvestitism, etc.) and capitalizing on the insensitivity with which he gawks at the differently-abled individuals in his films (the often mentally-impaired and impoverished human oddities that pepper both films).
My personal pick for the film's "funniest" moment is the scene in which Julien asks to recite a poem at the dinner table. His father interrupts, declaring, "I don't like that artsy-fartsy stuff." This is possibly the film's only moment of self-awareness and self-mockery. "julien" is, indeed, a prime example of that artsy-fartsy stuff, and it should serve as a reminder to us all: the words "original," "innovative," and "independent" do not always imply "good."
It's unlikely that Harmony Korine will stop employing shock for shock's sake anytime soon, which is unfortunate, because that thrill leaves most art-house audience members during their teen years. However, I have faith that he is still capable of delivering another script on par with "Kids." If we get another "Gummo" or "julien," though, I'm giving up on him.
Although Harmony Korine's latest film proudly flaunts its "Dogma 95" minimalist seal of approval, Korine has little else to be proud of with "julien donkey-boy," save for the fact that unsuspecting people are actually paying money to see it > Featuring the shakiest camera work since "The Blair Witch Project," the experimental, mostly improvised "julien" has even less of a coherent storyline and structure than Korine's last stink bomb, "Gummo." Yet the young writer/director is ever-insistent on grabbing the audience's attention with concepts that the general public finds vile (incest, transvestitism, etc.) and capitalizing on the insensitivity with which he gawks at the differently-abled individuals in his films (the often mentally-impaired and impoverished human oddities that pepper both films).
My personal pick for the film's "funniest" moment is the scene in which Julien asks to recite a poem at the dinner table. His father interrupts, declaring, "I don't like that artsy-fartsy stuff." This is possibly the film's only moment of self-awareness and self-mockery. "julien" is, indeed, a prime example of that artsy-fartsy stuff, and it should serve as a reminder to us all: the words "original," "innovative," and "independent" do not always imply "good."
It's unlikely that Harmony Korine will stop employing shock for shock's sake anytime soon, which is unfortunate, because that thrill leaves most art-house audience members during their teen years. However, I have faith that he is still capable of delivering another script on par with "Kids." If we get another "Gummo" or "julien," though, I'm giving up on him.
Korine derives beauty from the ugliness of life
jvochatzer28 February 2002
Much like Harmony Korines directional debut, Gummo; Julien Donkey-Boy is told in fragments rather than following a linear plot. He plunges deep into the life and mind of an adolescent schizophrenic with a dramatic series of events. One could pick at the details of this film forever, but thats not really necessary. Julien Donkey-Boy is a work of beauty: a masterpiece in every way. It isn't for closed minded people, for takes a harsh look at human reality, yet something about it seems appealing and nonetheless attractive. Korine's technique is unlike any other, it tackles subjects that are meant to be left alone, and displays them in a twisted sense. This film should not only be looked at as a compelling outlaw amongst films, but a magnificent work of art.
Stunning cinematography,
mike_pee12327 January 2000
After viewing this film, I had my mind made up that I hated it. The dialogue failed miserably. I know that the idea of improv is supposed to be more "real," but in this case it was simply disastrous. Weeks later, though, I can't stop thinking about this movie. The camera work was visually stunning. Even at its most overindulgent, the film's cinematagrophy was breathtaking. The ending of this movie is absolutely revolting, but I guess if it has the power to make such a bold impression on the viewer, it is successful in its attempt to display the strange effects of schizophrenia on Julien's deranged family. You may hate it or love it, but its definitely worth checking out regardless.
Harmony Korine is one of Americas' bravest and best directors
marshottentot18 June 2001
Much like European directors Thomas Vinterberg, Lars Von Trier, Jean Luc Goddard, and Werner Herzog (who plays the father!), young American director Harmony Korine is not content to just produce a product. This is film as art. This is film as statement. This is film as reality. It is not escapism-quite the contrary; "Julien" offers nothing in the way of fantasy (other than it's a 'film' and therefore not 'real'). Rather, it injects the viewer into the nervous system of an American most would pretend doesn't exist. It follows a moment in time for Julien, a mentally deranged young man, and his family as they trudge through their mundane, yet disturbed lives. Opening with Julien apparently murdering a young boy in the woods, the viewer is immediately tuned in to just how disturbed he is. From here, the film gives a 'fly on the wall' view of his family; an exasperated father (Herzog), abusive out of his own failures-both personal and familial. A classically driven brother who, through amatuer wrestling, tries to impress daddy-to no avail. Rounding the unit out is his sister (Chloe Sevigny), a ray of light (albeit tainted) within the molassas thick dispair. As the film progresses, we get bits and pieces of a family in sharp decline; the madness isn't all Juliens' that's for sure. Information is given in fits and starts, like bad dreams in still shots. Being a so called 'Dogme' film, "Julien Donkey Boy" has a voyueristic bent, akin to watching a home movie you found on the street. This feeling is only heightened by the seemingly improvised acting (I say 'seemingly' because it can't be ALL impov; forget what you've heard "Julien" DOES have a plot, just not a conventional one). Obviously, "Julien Donkey Boy" is not for everybody, just as "Fitzcarraldo" is not for everyone. I personally found this film compelling. This is the way some people actually live- someone you know, maybe even yourself, and that's why this film works. If I have any criticism, it's not of "Julien" per se, but the fact that all of Korine's films have dealt with teenagers, therefore probably making it easier for some to dismiss his work as merely 'fringe'.
Jeez
jzappa19 March 2007
There is a line that separates two types of independent art-house films often misconstrued as one. One side of the line is populated by films that are inventive and disturbingly stimulating of emotions, usually a completely nude display of unpleasant things and people. The other side is comprised of films that are shocking, repulsive, and generally don't move forward with their stories, instead shuffling sustained sequences where virtually nothing changes, shapelessly finding its way to the end of the movie. julien donkey-boy could either be lying perfectly upon this line between both types of films, or it could be the latter type. Usually, the latter type can be very basically and degradingly entertaining, voyeuristically tempting you to continue watching its stylistic repugnance.
A bigger part of me likes julien donkey-boy. A smaller part of me doesn't. The part of me that likes it is fond of the gritty, demented use of the camera. The film's setting, a trashy, lower middle class environment full of generally unhealthy and unattractive people, is appropriate for Anthony Dod Mantle's bleak, very very grainy and unglamorous lens. Upon reflection, I realize that the film was really trying to say something, but the part of me that doesn't like it tells me that it's too immediately unclear and abstract to be fully understood.
The film's unabashed, possibly record-setting weirdness could be neither a plus or minus, and rather something meant to challenge the viewer, to make us reflect on the judgmental perspective that keeps many from understanding films like these and characters like those that are in it. So I suppose the verdict is that it's a good movie, but for a rare and acquired taste.
A bigger part of me likes julien donkey-boy. A smaller part of me doesn't. The part of me that likes it is fond of the gritty, demented use of the camera. The film's setting, a trashy, lower middle class environment full of generally unhealthy and unattractive people, is appropriate for Anthony Dod Mantle's bleak, very very grainy and unglamorous lens. Upon reflection, I realize that the film was really trying to say something, but the part of me that doesn't like it tells me that it's too immediately unclear and abstract to be fully understood.
The film's unabashed, possibly record-setting weirdness could be neither a plus or minus, and rather something meant to challenge the viewer, to make us reflect on the judgmental perspective that keeps many from understanding films like these and characters like those that are in it. So I suppose the verdict is that it's a good movie, but for a rare and acquired taste.
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