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American Independents, Comedies, Festivals and Conferences

BIFF 2013 #16: Somebody Up There Likes Me (US 2012)

Max (Keith Poulson) and his second wife Lyla (Jess Weixler)

Max (Keith Poulson) and his second wife Lyla (Jess Weixler)

BIFF19logoIn his introduction to the film, Festival Co-director Neil Young was careful to tell us that this was a ‘Marmite movie’ – some people love it, others hate it. I fear I’m unusual. It passed the time quite pleasantly after a beginning when I thought it was going to be awful. There were occasions when I laughed and I was always interested in what might happen next. The performances were generally good, the aesthetic was clean and bright and the animated chapter headings/intertitle cards that told us ‘5 Years later . . .’ etc. were very nicely done. I just can’t get too excited about it. That’s probably because of my general aversion to contemporary American Indies. Film festivals mean that you get to see some films simply because they are ‘there’ – and in this case because I wanted to see the short (more on that later). But what’s this film about, you ask?

The title isn’t very helpful (at least to me) and I don’t think the film bears any relationship to the 1956 boxing movie. Instead it features Max (Keith Poulson) a young man with seemingly few social skills who moves from one marriage to a second and then a second separation and a third relationship. Along the way he has a son and throughout he has a sounding board/friend/rival in the form of Sal (Nick Offerman). The wittiest scenes in the film involve these two exchanging misunderstandings. Max also has a suitcase containing something magical rather like the mysterious object in Kiss Me Deadly (but seemingly less dangerous!). The film’s other novel feature is that the central characters never age, but we see the evidence of time passing through Max’s son who is played by four different actors as he grows from child to man. The film’s Texan director Bob Byington (on his sixth feature) thanks both Richard Linklater and Terrence Malick in the closing credits but for me the reference point would be Wes Anderson’s Rushmore. Or do all these Austin indies include a British pop song? The music in the film was quite enjoyable but it was a surprise when Sandie Shaw popped up. (The animated graphics are by Bob Sabiston who worked on Linklater’s A Scanner Darkly and A Waking Life.)

Max may be autistic, but he may just be an example of indie cool. There are moments of casual racism and sexism which I think are meant to be taken ironically – in any case the three female leads easily match the men. After the screening I found people who did ‘really like’ the film and it has won festival prizes. It’s only 75 mins long and I think it’s out on DVD in the US.

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