Spotlight

Spotlight Date: 12-February-06
Spoiler Rating: Medium

Ghost World (2001)

One thing I look for when rating a movie is the challenge it must have posed for the filmmakers. I tend to admire movies that accomplish something seemingly difficult, such as combining numerous storylines or various moods into a cohesive whole. "Ghost World" landed on my Top Ten list for 2001 because director Terry Zwigoff (who wrote it with Daniel Clowes), his editor, and his actors manage to integrate perceptive humor and heartbreak into a satisfying tale. The picture is a concentrated view of the maddening confusion of life.

On the one hand, "Ghost World" is a hilarious comedy about the foolishness of everyday people. Based on a comic by Clowes, the movie relates the adventures of Enid (Thora Birch) and Rebecca (Scarlett Johansson), two cynics freshly liberated from high school. Not quite geeks, rebels, or losers, Enid and Becky lurk on the edges of the herd and define themselves by mocking everybody and everything; they're totally cool in their own eyes and moderately eccentric in others'. While this derisory duo is open to ridicule in its own right, the butts of their jokes (crank calls, nosy stalking, etc.) are undeniably amusing. The characters' absurdity is usually subtle, derived from the fact that most humans look goofy or do silly things, but the script opens up when it follows Enid to an art class taught by a bohemian who mistakes excess for eloquence (Illeana Douglas).

On the other hand, "Ghost World" is a melancholy drama about the foolishness of everyday people. As adolescence gives way to adulthood, Enid struggles with her place in society and considers removing herself from it. The movie adroitly shows how a sensitive teen might regard growing up as selling out, a lamentable condition entailing too serious a risk of failure. One disconcerting example of maturity is presented by her victim-turned-friend Seymour (Steve Buscemi), a lonely bachelor who collects LPs and memorabilia to give his life purpose. Seymour understandably becomes Enid's hero by being true to himself, yet what little dignity and comfort he possesses is decidedly hard won. As her peers attempt to move forward and her father (Bob Balaban) proceeds with his own life, Enid is left with what looks like a bitter choice: give in to phony conformity or resign herself to the desolate fringe.

In keeping with his skill at managing concurrent emotions, Zwigoff pays close attention to the details of "Ghost World" even as he explores widespread themes. The conspicuousness of the hipster music, costumes, and props isn't just a reflection of his fascination with kitsch, but serves to define the characters, their mindsets, and their environment. As a result, Enid and her pals feel like distinguishable entities whose experiences reflect general truths. Or perhaps the filmmakers are correct that it's really one complex truth: life is a farce, and those willing to act it out are courageous.

Copyright © 2006 The Jujube (M. I. Kim). All rights reserved.