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BULLY (2001)

A film review by Marc Blackie

Director: Larry Clark

Writers: Zachary Long, Roger Pullis. Based on the book Bully: A True Story of High School Revenge by Jim Schutze

Brad Renfro - Marty Puccio
Rachel Miner - Lisa Connelly
Nick Stahl - Bobby Kent
Bijou Phllips - Ali Willis
Michael Pitt - Donny Semenec
Kelli Garner - Heather Swaller
Daniel Franzese - Derek Dzvirko
Leo Fitzpatrick - Hitman
Deborah Smith Ford - Farah Kent
Larry Clark - Hitman's Father
Jeanne Orr - Claudia 

Bully is the true story of a group of American teenagers accused of and charged with the murder of one of their peers. Marty is bullied by his "best friend" Bobby, a thoroughly nasty piece of work with a taste for rape and random violence. When Marty meets Lisa (whom Bobby wastes no time in introducing to his own particular forms of affection) she is horrified by how he is treated and how he allows the abuse to continue (not just towards himself but to others around him) and so gathering friends and acquaintances around them she begins plotting the eventual murder of Bobby.

What follows is a lesson in how an idea can gain momentum and lose control of itself, how individuals can perform deeds in a group that would be unthinkable if they where alone and how misunderstandings and rumours, reputations and egos and just plain stupidity can snowball down to a dreadful and inevitable end.

One of the criticisms often laid at the feet of Clark's movies is that he exploits his subject matter and in some ways celebrates the lifestyles portrayed in his films. Accusations such as this were aimed at his debut feature Kids, the main theme and plot device of which revolved around an underage sexual predator, his various "victims" and the tragic conclusion that unchecked sexual promiscuity can bring about.

There certainly are scenes in this piece where the camera lingers in an uncomfortably leering fashion upon the often naked bodies of the young actors, even going so far as to focus directly upon and fully frame breasts, backsides and groins. It's only on reflection that the viewer realises that the various characters are filmed in a different manner - a technique that brings alive, or at least highlights certain aspects of those portrayed. Thus the character Aly is filmed in this lingering fashion to a soundtrack of loud music and flattering lighting where as Lisa is seen naked, bruised and in very harsh bright lights with the camera making no effort to eroticise the situation.

Another technique that is at first frustrating is the lack of depth with which some parts of the story are explored. There is quite obviously something very murky in Bobby's past, something that has turned him into this monster able to switch from articulate and shy teenager to violent sexual predator. This and the latent homosexuality displayed between Bobby and Marty are things never explored and would probably make for another film in themselves. While this does cause frustration, with consideration after viewing the piece it could be seen to be a mirror to ourselves. How often do we genuinely care about what causes the violent and unpleasant to be that way in our day to day existence? - surely we are generally too busy wishing that they just didn't exist.

This is a disturbing film that leaves the viewer asking many questions, presenting hypothesis and ideas as to what we have witnessed may have occurred (for example the looks exchanged between Lisa and Bobby, the constant flashbacks she has of him and how she talks about him almost affectionately - Does she love him? Does she decide she wants him dead as she is unable to reconcile the feelings she has for him with his violent nature or is it because she is pregnant with Marty's child and doesn't want her feelings for Bobby to be in the way of future happiness. Is the child in fact Bobby's? And on and on...). It is a tense piece, not only leading up to the murder but also to the eventual convictions. It’s the first movie I can remember in a long time that has produced such a feeling of dread in my stomach.

Very much of a companion piece to Kids, the characters in Bully could almost seem to be well advantaged counterparts to those in the previous film. It is interesting to note that despite these apparent advantages the characters here still manage to make a god-awful mess of their lives and those of others around them in the process.

So just in case we were in any doubt, rich people can be shit too and here is another life affirming film for us all to enjoy. Pass the popcorn.

MARC BLACKIE – 12 April 2002

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