#alexgreenwald

I remember one night, after band practice or a show, me and my usual group of film-loving friends sat down to hang out, and someone suggested that we watch Donnie Darko, the film they’d just rented.  Assuming it was some weird, silly teenage superhero movie, we threw it on.  About 2 hours later, we were all forever changed.  I thought that, due to it’s limited initial run and its cult status on DVD, I’d never get the chance to see Donnie Darko on the big screen, but when it comes to Alamo Drafthouse screenings, anything is possible.

Teenager Donnie Darko (Jake Gyllenhaal), a young man with a history of anxiety and issues, is awakened by a mysterious voice one night.  Upon following the voice, he meets Frank (James Duval), a mysterious man in a disturbing rabbit outfit and mask who tells Donnie that the world will end soon... in 28 days, 6 hours, 42 minutes and 12 seconds, to be exact.  Donnie immediately blacks out, and is woken up on a local golf course.  Upon returning home, Donnie is shocked to discover that a jet engine of unknown origin, according to his sister Elizabeth (Maggie Gyllenhall), crashed through the Darko roof, directly where Donnie would have been sleeping.  As Donnie attempts to move forward with this information, his visions become more vivid and disturbing, leading to a diagnosis of paranoid schizophrenia by therapist Dr. Thurman (Katharine Ross).  As Donnie’s visions of Frank increase, he is given information that seemingly connects to his real life, including a discussion with Dr. Kenneth Monnitoff (Noah Wyle) about time travel and predetermination that almost crosses lines, a friendship with schoolmate Gretchen Ross (Jena Malone) that buds into a relationship, and encounters with motivational speaker Jim Cunningham (Patrick Swayze) that lead to news nobody could possibly prepare for.  As the countdown that Donnie was given approaches its end, the frequency, urgency and importance of events that take place pull Donnie and everyone around him into a paradoxical climax of circumstances and happenings that skew existence beyond normal understanding.

As mentioned in the opening, Donnie Darko holds court with films like Requiem for a Dream (or mother!, for that matter), Dancer in the Dark, and a handful of others as wholly immersive film experiences of the 2000s.  It is extremely hard to view Donnie Darko without some period of deep reflection or realization, sometimes one that lasts for days.  Despite having such a complex narrative, the outer framework of the film is completely engaging and accessible.  The 1980s period touches provided are subtle, but authentic, on both a visual and a soundtrack level.  Within that combination of complex narrative and period look are tons of easter eggs for viewers to find, some that will only be recognized or make sense upon repeat viewings, and many that you may not spot until providing time between viewings.

The circular nature of the narrative is extremely interesting... the combination of time travel and a countdown to the supposed ‘end of the world’ puts me in the mind of someone stuck in a time loop that resembles a prison, with certain actions having to take place in order to fulfill their role in the loop (the ‘traveling within God’s channel’ that Donnie speaks of).  With that in mind, the logical dilemma that is presented in the film’s closing moments is that much harder to piece together, as the characters now regret/reflect on a past that is technically an alternate version of their future.  You’re very much left to feel like Samantha trying to piece together where the jet engine came from, or who Donnie was talking to when she walked by the bathroom.  That deep path is also paralleled with the equally complex narratives of a love story between Donnie and Gretchen, and a coming of age story for the troubled Donnie as he goes through his own skewed version of the hero’s journey.

On a technical level, this film stands up to the immense writing and acting talent.  There are plenty of traditional camera set-ups, but for a few scenes, some expressive camerawork is employed : long tracking shots, speed ramps and rigs that raise or rotate the camera are all used to punctuate key moments.  Most of the special effects are subtle enough to feel real and blend into the world, with my only objection being the slightly cartoonish nature of Donnie’s chest spear morphing into a finger and beckoning him to follow.  The soundtrack on both the theatrical version and the Director’s cut fit quite well, a strange anomaly considering that drastically different song choices are made in a few scenes, and both choices tend to work well across the board.  As mentioned before, the film is set in the 1980s, and the pop culture references integrated into the film work quite well.  

The cast is deep, and the chemistry runs strong across the board between characters.  This was my true introduction to Jake Gyllenhaal, and his performance made me a fan for life (as well as putting Maggie on my radar, with her brief but charming appearance).  Mary McDonnell and her strain in trying to present a perfect household balances well against Holmes Osborne and his laissez faire attitude.  Katharine Ross brings genuine concern with her role, and plays with fire once or twice via hypnosis.  James Duval gives a hauntingly still performance as Frank, making his human reveal that much more heartbreaking.  Jena Malone is stellar as usual, with that trademark smirk she carries around like she knows secrets we have no clue of.  Drew Barrymore and Noah Wyle turn in memorable performances as beacons of hope in a bleak situation.  Patrick Swayze provides a character with a tremendous fall from grace, giving us the stuff we love with a depth that crushes in one of his final performances.  This cast, in all honesty, is DEEP, but performances by Beth Grant, Jolene Purdy, Patience Cleveland, Alex Greenwald, Seth Rogen and more keep this world rich and engaging.