Most movies based on real events, identify themselves as fact-based or inspired by or some similar caveat to suggest that a certain amount of license has been taken. Richard Linklater’s Bernie, on the other hand, offers two introductory titles. The first reads, “What you’re fixin’ to see is,” and the second, “A true story,” setting both the tone and the substance of the film. Under most circumstances, I’d take issue with such a claim, but since the film at hand is as much about the perception of Bernie Tiede (Jack Black) by the folks of the town he lived in—and is delivered by them in interviews—as it is about Bernie, I’m inclined to let it slide. In reality, I guess the film is part dramatization and part something like a documentary—though maybe gossip-mentary would be nearer the truth.
So what exactly is this strange hybrid known as Bernie? Well, that’s not so easy to say in any convenient summation. Is it a true crime story? Is it a very strange love story gone wrong? Is it a loving look at a small Southern—in this case, Texas—town? Is it a satire of such places and the politics therein? Well, yeah, it’s all those things—and probably a few others I’ve neglected to mention. The remarkable thing about it is that Linklater and his cast somehow manage to make it all hang together as a whole. In terms of storytelling and in approach, the film is quietly unorthodox, but I can’t think of another approach that would work nearly so well.
The film is based on a 1998 article by Skip Hollandsworth—who co-authored the screenplay with Linklater—and is set in Carthage, Texas (“Behind the Pine Curtain—where the South begins” is how one local describes it), a sleepy little town that exists somewhere between the boosterish gush of the chamber of commerce and one local woman’s forthright assessment, “Oh, hell, most people live in Carthage because they were born here.” And easily the best-liked—maybe even loved—person in the town is Bernie, the assistant funeral director (the term mortician isn’t used anymore, we’re told). Oh, sure, Bernie might be “a little light in the loafers” (as it’s called in the film) with the interests of a caricature “show queen,” but he’s just so darn nice that everbody likes him—and anyway he’s in a setting where much that would cause talk elsewhere is dismissed as eccentricity. He’s unfailingly friendly, cares about his work, and is at his best and most appealing when dealing with grieving widows. It’s that last that sets the drama in motion when he sets out to thaw the “meanest woman in town,” Marjorie Nugent (Shirley MacLaine), who also happens to be the richest woman in town.
Wearing down her icy exterior—to the degree that is possible—Bernie becomes her best friend (well, only friend), confidante, travel partner and—who exactly knows what? He also becomes the sole heir to her estate, but that was not his aim. In fact, it seems that his aims are fairly guileless—at least until he starts feeling smothered by her demands and, in a moment of madness, shoots the old gal (with her armadillo rifle), puts her in the freezer and starts making excuses for her absence. Nobody much cares because nobody wants to deal with her or misses her. Well, nobody cares but her disinherited family and grandstanding District Attorney Danny Buck (Matthew McConaughey). What happens from there I’ll leave to the film, but I’ll say it’s unfailingly entertaining—strangely touching and a little troubling.
There are those who will avoid the film because of the presence of Jack Black. This is a mistake. Yes, he is unmistakably Jack Black—the trim mustache and conservative haircut don’t even try to disguise this—but it’s Black in a performance unlike any he’s ever given. He nearly disappears into a role that stops—as it must—short of caricature. He has to make us believe that the townfolk so love him that they either don’t care what he did, or simply refuse to believe it—and he does. But he’s not the whole show. Matthew McConaughey (an actor I usually like less than Black) and Shirley MacLaine do more than their share, while Linklater’s evocation of Carthage is little short of blissful. And don’t sell the townfolk short. It all comes together in one of the most unusual movies you’ll see this year. Rated PG-13 for some violent images and brief strong language.
After THE DICTATOR, I didn’t think I’d see a funnier film this year. BERNIE proved me wrong.
And a better film, too.
While I haven’t always liked everything he’s done as much as I’m apparently supposed to, I’ve yet to watch a Linklater film that I didn’t at least find interesting. I have no trouble believing that both the above statements are true.
Now if it’s as good and as funny as Damsels in Distress I’ll be thrilled. If not, well.. hurry up and get here Moonrise Kingdom!
I’ve yet to watch a Linklater film that I didn’t at least find interesting.
I suppose interesting is fair. That I also find some of them tedious or repellent doesn’t preclude interesting, I reckon.
I like just about everything by Linklater, but sometimes the “natural” dialogue backfires and comes out sounding more artificial than ever. SLACKER is the prime offender, but BEFORE SUNRISE/SUNSET do, too. In BERNIE, the dialogue is so tightly constructed that there are no such issues.
I like just about everything by Linklater, but sometimes the “natural” dialogue backfires and comes out sounding more artificial than ever. SLACKER is the prime offender, but BEFORE SUNRISE/SUNSET do, too.
I’d agree with the last part of that. Part of what is a problem for me with Linklater is the tendency to use Ethan Hawke, who I find generally unbearable. (By the way, I’m assuming that Bad News Bears is one of the reasons for “just about.”)
For me — and this is based on Slackers, Dazed and Confused, the “Sunrise/Sunset” duo, Wanking Life, and A Scanner Darkly — the biggest problem I have is I feel like I’m stuck in a dorm room at 3 a.m. with a tiresome stoner who is being “profound.” (This isn’t really an age thing, since these same folks were definitely around in the early 70s when I was in dorms.)
The first thing I didn’t mind was School of Rock, but it took Me and Orson Welles for me to actually love a Linklater movie. This one is at least really close to that.
I was astonished this morning to hear my mother — in response to being told that last night’s WOM audience seem to have liked it — say she couldn’t imagine anyone not liking Bernie. My mother is 83.
Part of what is a problem for me with Linklater is the tendency to use Ethan Hawke, who I find generally unbearable… the biggest problem I have is I feel like I’m stuck in a dorm room at 3 a.m. with a tiresome stoner who is being “profound.”
Ha, well then probably best to avoid Tape (that is if you’ve managed to do so thus far). In that film we’re literally stuck in a room with Ethan Hawke the entire time -though it’s a hotel room rather than a dorm room. Still, I’d actually include it among his better films, and certainly his most challenging in certain respects.
certainly his most challenging in certain respects.
Well, it sounds like it would be the most challenging to make myself sit through.
Ethan Hawke, who I find generally unbearable
How about GATTACA?
I’m assuming that Bad News Bears is one of the reasons for “just about”
probably best to avoid Tape
Haven’t seen either. SLACKER is interesting, but unfocused and ultimately frustrating. I don’t understand the love for it. I also don’t remember THE NEWTON BOYS being remarkable, though I was in middle school and only saw it because Vincent D’Onofrio (who I’d met when he gave a talk at Brevard College) was in it.
How about GATTACA?
I give up, how about Gattaca?
I like it.
Ethan Hawke may have OCCUPIED “GATTACA”, but it was Jude Law and Alan Arkin that made it watchable.
I have NEWTON BOYS sitting on my shelf awaiting viewing. What timing you guys have.
I like it
I’ve never seen it.
You’re welcome to borrow my copy.
Worth a watch.
For a moment I thought that was a line from Damsels in Distress. I wouldn’t mind seeing it.
Linklater is one of those directors who started out with so much promise in the 90’s and has gradually declined with a few exceptions here and there. My favorite is probably Slacker just because i am a big Louis Bunnell fan. He also pretty much jump started the indie film movement of the 90’s.
Suburbia and Fast Food Nation are very underrated.
He seems to be getting back on track with his last couple of films and his next one looks interesting too.
Do you by any chance mean Luis Bunuel?
Do you by any chance mean Luis Bunuel?
He of the sliced eyeball?
http://titirangistoryteller.files.wordpress.com/2009/11/un-chien-andalou-big.jpg
That’s the one I had in mind, yes.
Worth a watch.
Al, if you use the feature to reply to an individual comment rather than the old copy/paste/comment at the end of the thread, your comment will be incomprehensibly disconnected once this goes to the archives.
Ha yes this guy Luis Bu
It’s not really a question of “however you want to spell it.”
If you’re in the US it does we don’t use the tide.
Sorry. Louis Bunnell is just plain wrong — just like “Palanski” is wrong.
At least i don’t say Hawaii like How Are Ya right?
Well…I don’t know. Have we ever met? You might.