I’ve heard about Azazel Jacobs, an independent filmmaker, a while ago, but I never got around to watching his films (They were not readily available as far I know.)–which are in the vein of Cassavetes, Mike Leigh and more recently mumblecore filmmakers like Andrew Bujalski.
I recently watched four of his films, and I really liked them (with the possible exception of one of the films). Interestingly, three out of the four films were so slow and boring, I struggled to stick with them. Yet, all three of these films, about a third of the way, came alive for me, in a way that surprised me. How could a film that seemed so boring all of sudden become interesting? The funny thing is that the film that didn’t start slow (Terri) ended up being the least interesting and in my view least successful of the four films. (I wondered I was the problem, more than the films. Maybe I watched too much YouTube videos recently, making me impatient. But I got into Terri fairly quickly so I don’t think I was the problem.)
I’m going to use this thread to discuss Jacobs’s films.
The GoodTimes Kid (2005)
Dir. Azazel Jacobs
Starring: Azazel Jacobs, Diaz, Geraldo Nanjo
78/100
On the day Rodolfo Cano (Jacobs) is to report to the army, he walks out of his house, ignoring his girlfriend’s entreaties (about what I can’t recall). About the same time another Rodolfo Cano (Nanjo) discovers a letter addressed to Roldolfo 1, which the army mistakenly sent to Rodolfo 2.
Without revealing much about the film, I like what happened next, and I’ll say more in the next section.
**
I mentioned Cassavetes, Leigh, and other independent filmmakers, but the noteworthy aspect of this film isn’t the character or performances, but the structure of the story, dealing with the directionless ennui of many 20/30-somethings and role-reversal of the two protagonists. How this happens is subtle and somewhat mysterious and maybe even poetic (specifically the ending).
Of the independent filmmakers in the last 20-30 years, Jacobs might be one of the more interesting and artistically successful. In that way, maybe Jim Jarmusch is a better comparison.
Below is a clip from one of my favorite scenes from the film. It’s not critical to the plot, but don’t watch it if you want it to “surprise” you.)
By the way, Nanjo’s acting is appropriate but not necessarily outstanding. However, I loved his hair in this. I also love the circumstances of his meeting Diaz, and the way she stars calling him “Depresso.”
Momma’s Man (2008)
Dir. Azazel Jacobs
Starring: Matt Boren, Ken Jacobs, Flo Jacobs, Dana Varon, etc.
78/100
Mikey (Boren) visits in his parents (Ken and Flo Jacobs) in NYC, leaving his wife Laura (Varon) and infant daughter back in L.A. He ends up staying longer than expected.
**
What I really liked is that the film never really explains why Mikey stays; it never really explains Mikey’s inner thoughts and feelings–why he seems compelled to stay–and all this remains a bit of mystery. Yet the film gives enough to make everything believable and compelling (although it took a long while for the latter to occur).
The performances are solid, especially by Boren (at the climax) and Flo. (Note: I believe Ken and Flo are Azazel’s parents. And I believe Ken Jacobs is a well-known experimental filmmaker.)
Terri (2011)
Dir. Azazel Jacobs
Starring: Jacob Wysocki (Terri Thompson), Creed Bratton (Uncle James), John C. Reilly (Darryl Fitzgerald), Bridger Zadina (Chad Markson), Olivia Crocicchia (Heather Miles)
60/100
A coming-of-age film featuring an overweight teen immediately conjures up many different plotlines and resolutions. For example, the school’s VP, Mr. Fitzgerald (Reilly) suggests meeting with Terri, the titular character, expressing sympathy for Terri’s problems. Are Mr. Fitzgerald’s intentions sincere? Or will his cruelty emerge at some point? Is he a homosexual seeking to groom Terri? For the most part, the film avoids the predictable plot and character developments. At the same time, it’s one of those films that manages to do this with rather bland results. Simply avoiding cliches doesn’t guarantee a satisfying film.
One last thought. The film feels like an attempt to reach a mainstream audience. Whether this is the reason
( Note: I originally wrote the comments below on 11/10/2024)
The Lovers (2017)
Dir. Azazel Jacobs
Starring: Debra Winger, Tracey Letts, Aidan Gillan, Melora Walters, etc.
72/100
Very rarely does a film recover after I’ve disliked over half the movie. This was one of those rare exceptions. The film is an acting vehicle for Winger and Letts. Often the performances and/or characters created give these films merit, while the story maybe weak and not successful overall. Interestingly, one could argue the film turns this on its head. The acting and characters are solid, but the film/story–or the relationship of the two characters–made this film interesting for me. The character do have an odd relationship that I don’t see often in films.