Famous James
Edgar Muniz specializes in a particular type of movie– one that takes a cold, hard look at it’s main character, and calls them on their bullshit. The character’s need it, in case you were wondering, although there are varying degrees as to whether they deserve it. However, what matters is whether the characters realize that need for themselves; they usually do, and it usually means some peace of mind, in the end, and the promise of a brighter day to come. That sounds sappy and sentimental as Hell, but Muniz doesn’t deal in either of those things; his endings are earned, and emotionally, of a piece with what has come before. They’re just…optimistic, which is funny given how pessimistic his main characters are.
Take James, for example, the central character in Muniz’s “Famous James,” and played by Seth Johansson, one of Muniz’s regular actors. A man in his 30s, he has a simple jobs, and a few friends, but seems angry and bitter at life. He gives his friend and co-worker crap for listening to a particular song, which has helped him cope with the end of a relationship. He seems to resent taking care for his mother, although she’s lived mute for many years, and in their time together, seems to blame her for his father’s suicide many years ago, and him being closeted gay. And he takes no real responsibility for the ending of a past relationship, and doesn’t see the inappropriateness of climbing in through his ex’s window to take back a heater he paid for, even though he’s been told he is not welcome there. He’s kind of a douchebag, to be honest, but that doesn’t mean he’s not deserving of friendship and support from people who know him– he just has to work harder on himself to make us feel any sympathy for him. His aunt, who refuses to visit his mother, has suggested he needs to visit his father’s grave. That might be a start.
One of the things that really helps make Muniz’s films come to life is how they feel very much like collaborations between the filmmaker and the actors, and many of his best films I’ve watched (“Showing Sydney,” “Someone Else in the Evening”) were written with the lead performers, making them feel authentic. With “Famous James,” Muniz takes a different approach akin to that of Mike Leigh (“Secrets & Lies,” “Another Year”), writing out the story, and allowing his actors to improvise the dialogue. It’s an interesting way of doing things, and seamless, as I would not have guessed that was the case before seeing the writing credits at the end. Muniz has always had a talent with authenticity in his movies that make them very easy to dive into as a viewer, and knowing the approach with “James,” it feels like a natural evolution in his filmmaking technique. To be fair, the storytelling feels a little more aimless in this film as it does in many of his previous ones, but the spine of what makes the movie hold together is there– it comes down to his character’s ability to evolve through the course of the movie, and to understand some hard truths about themselves, and of life. This is where longtime collaborations between actors and directors really pay off, and Johansson and Muniz have the shorthand that comes from such close creative relationships down to a science.
The title of the film is interesting. James doesn’t appear to be particularly well known outside of his immediate circle, so he’s not famous in the way we typically use that word. However, within that circle, the word seems to fit him perfectly. People know him and know what he’s about very well. They know what to expect, and aren’t afraid to call him out if he’s being a bit of a prick (like when he matter of factly calls his father a “closeted faggot,” and doesn’t see how that’s offensive). Just because someone is famous doesn’t mean it’s for a good reason, and that is very true with James. The death of his father seems to loom large over his life, although it doesn’t feel like it’s the root cause of his demeanor, as his aunt implies late in the movie. But Muniz isn’t one for facile psychological explanations or easy ways out of terrible behavior, which is one of the reasons his movies have become some of my favorites to watch. He makes his characters work for their answers, and James will have a lot of work ahead of him after the camera rolls on this film. After he makes a visit to his father’s grave, though, he seems like he’s in a better head space to do that work, and make it stick. That’s another reason I enjoy watching Muniz’s films: they stick around in your head, and “Famous James” is no exception.
FAMOUS JAMES Teaser from "So Much Movies" on Vimeo.
