The "Gummo" screenplay is melancholic and more focused than the movie, basically it's the story of a few sisters searching for a missing cat after the storm. Firstly, the written scripts are not the finished films: "Gummo" as a screenplay lacks many of memorable scenes that ended up in the movie and also includes different settings and dialogue for the scenes kept in. If you're a fan of Harmony Korine, you're going to want to pick this collection up for a number of reasons. I do recommend watching the actual movies beforehand (sans "Jokes," which was never completed), but this is a must-read collection that helps to explore Harmony Korine's works further for all of his fans. (It is widely believed that the transcript was not even written by Korine.) Otherwise, this is a marvelous treasure for any fan or enemy of Korine's films. The transcript of "julien donkey-boy" that concludes the collection does not serve much justice to the film. I had originally purchased this book mainly to read the original screenplay for "Gummo." I have found that the other two screenplays, "Jokes" and "julien donkey-boy" are nearly just as riveting. Another reason is that the film succeeds radiantly at inventing and presenting a world that is both 100% realistic and entirely dreamlike. One of these reasons is that every scene has the potential to be picked apart and/or pieced together literally and symbolically. "Gummo" is currently my overall favorite film for a nearly infinite number of reasons. What is presented never ceases to be both stunningly beautiful and unbearably ugly simultaneously. There is a somehow hypnotic and projective quality about all of Harmony Korine's works. Yeah, I get it, everyone hates that "Harmony Korine fan" but I just really love him, ok? Harmony doesn't judge. People are as they are, strange as they may be, and Harmony bears witness to it. He doesn't exploit his characters to serve some preachy purpose. He highlights that it's not his job to preach a moral narrative and I agree. In these screenplays, Kids, and the films of his I've seen, he doesn't ever seem to judge. Harmony doesn't stray from reality, even when it's ugly.īut when it's ugly, he doesn't judge. His scene detail in the scripts is imaginative, but always grounded. His characters, despite their strange circumstances, feel real. I was really put off by his introduction to "Jokes," but I fell in love with it when I read it and I'm sad it was never fully realized as a film. You could encounter his characters anywhere perhaps you've even lived some of the experiences he details. It's almost impossible to articulate why Harmony is great because that's an understanding someone has to approach on their own, when discomfort regarding his work turns into understanding and finally turns into admiration.Īll of the work is absurd, sure - but I agree when Harmony calls his work realist. It took me years to "get" Harmony Korine to watch Gummo past the opening narration to understand that his work is full of heart and free of judgment. This arrived in the mail yesterday and I finished it within hours. Currently, the man continues to release published screenplays and fanzines while caring for his wife Rachel and his son Lefty. He has directed several music videos, commercials, and David Blaine television specials Korine has also hosted numerous exhibits of his art and photography. Since his rise to fame (or infamy), Korine has expanded his horizons in film, literature, art, music, and tap-dancing. He has earned the recognition and respect of Werner Herzog, Gus Van Sant, Jean-Luc Godard, and others. After reaching a break-through opportunity as a screenwriter for Larry Clark's first highly controversial film "Kids" in 1995, Korine quickly became viewed as one of America's most bizarre and inventive creative entities, especially with the release of his directorial debut "Gummo" in 1997 and the publication of his first novel, "A Crackup at the Race Riots," the following year. Raised in Nashville, Tennessee, the son of PBS cinematographer Sol Korine spent many of his days at revival theaters, drawing vast inspiration from a wide variety of envelop-pushing filmmakers. Best known both as the writer of films "Kids" (1995) and "Ken Park" (2002) and as the director of films "Gummo" (1997), "julien donkey-boy" (1999), and "Mister Lonely" (2007), Harmony Korine has been deemed as the "enfant terrible" of modern independent dramatic film.
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