{"id":175579,"date":"2022-06-01T09:22:22","date_gmt":"2022-06-01T13:22:22","guid":{"rendered":"http:\/\/www.sheilaomalley.com\/?p=175579"},"modified":"2022-06-01T19:08:12","modified_gmt":"2022-06-01T23:08:12","slug":"thats-the-smell-of-rock-n-roll-dinner-in-america-2022","status":"publish","type":"post","link":"https:\/\/www.sheilaomalley.com\/?p=175579","title":{"rendered":"“That’s the smell of rock ‘n roll.” — Dinner in America<\/i> (2022)"},"content":{"rendered":"

\"\"<\/p>\n

\nDinner in America<\/i>. written\/directed by Adam Rehmeier, and starring Kyle Gallner and Emily Skeggs (with amusing cameos by Lea Thompson, Pat Healy and others: everyone’s great in it) is out in theatres now, and will be available on demand June 7th. I reviewed for Ebert<\/a>.<\/p>\n

I have since seen it a second time. My first watch was a weird experience. I was turned off initially, but about 15 minutes in, I realized what the movie was doing, and was consequently swept up in the joy and fun and catharsis of the story. I decided to write about this transformation in my review. It seemed important, and in the movie’s favor. It’s not that the first 15 minutes were bad or unsure. It’s that I was not aligned with the movie’s headspace, for whatever reason. Once I WAS, everything else came into focus. (And, on second watch, the opening sequences made perfect sense and are extremely effective. I don’t know what my problem was, because this is a very ME movie (obvious from the films I compared it to in my review. I love all of them). <\/p>\n

The movie knows where it’s going and what it wants to do. The mood is raucous and anarchic but with spaces of surprising tenderness. The film has room for both! So few movies can do both!<\/p>\n

\n\"\"<\/p>\n

\n\"\"<\/p>\n

\nI said most of what I needed to say in my review, but here are some additional thoughts, coming into focus after seeing it in a second time in the proper headspace. I love the horniness of the movie. I love her horniness and his. It’s (sadly) unexpected: American films shy away from sexuality now, except in the most generic way. Sex is seen as such a serious subject, fraught with peril, and way too hot to address honestly. I understand why this is happening, and I think the reckoning going on about sex right now is long overdue, and it’s not surprising that the reckoning would have an impact on the art that we make, but … Banishing sex – or, not even sex – just general horniness and desire for it – refusing to allow this in our stories is reverting us all to the Victorian age! Everyday garden variety hookups are discussed in terms of gaslighting and power differentials. If everyone wants to be there, and if everyone’s a consenting adult, then why is it anyone’s business? Human connection cannot bear this kind of ponderous weight. Not every hookup is Cat People<\/i>. I’m mostly talking about how this larger cultural event has impacted art. It’s not pretty. Member when “erotic thrillers” were a thing? I miss those, trashy as some of them are. Dinner in America<\/i> shivers with the joy of what it feels like to “break through” conditioning and first impressions and just “click” with someone. Not just sexually, but attraction is a huge part of it. Attraction is redemptive<\/i>, if you set up the story correctly – as Rehmeier has done here. People are set free<\/i> when they meet the right person. <\/p>\n

\n\"\"<\/p>\n

\n\"\"<\/p>\n

\nHere are some moments I love, some of which I mentioned, others I didn’t. <\/p>\n

I’ll start off with my favorite moment in the whole thing: <\/p>\n

\"\"<\/p>\n

\nHe says it, in his gruff deep voice, in a deadly serious tone. He’s not making fun of the moment. He’s not distant from it. Neither is the movie. It’s real. It sounds ridiculous and self-important if you step outside the moment, but you’re NOT outside the moment. The whole point of the movie is that rock ‘n roll IS THAT SERIOUS. It’s not ironic at all. Rock ‘n roll means what it says. And yet, the moment is hilarious too – because of the seriousness and the truth of it. Plus the ski mask.<\/p>\n

A couple moments I mentioned in my review , like his stalk across the vacant lot:<\/p>\n

\n\"\"<\/p>\n

\nIt’s such a good shot, a critique of our entire world Right Now in a single image. <\/p>\n

And finally: Emily Skeggs’ blazing irrepressible smile. She is having so much fun<\/em> and she has never had fun before<\/em>. Sometimes she looks almost scared AS she\u2019s smiling. Her joy is overwhelming her. She can\u2019t believe her own life! THIS IS WHAT FUN FEELS LIKE! Once she gets into a groove with the swerve her entire life has taken in a 24-hour time span, she’s in a state of suspended ecstasy. She’s found her way. She steps into the light, the light of his company and being looked at and seen. He can scowl and growl all he want. He’s thrilling<\/em> and she is HERE. FOR IT.<\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

\n\"\"<\/p>\n

\n\"\"<\/p>\n

\n\"\"<\/p>\n

\n\"\"<\/p>\n

\nDinner in America<\/i> is a “little” movie about two people but it is fully ALIVE, to itself and to the world around it. The world – where we are “at” now – is present, like a polluted fog the characters squint through – but without making a big deal about “saying something” or having a “message”. Simon and Patty are the main event, misfits in different ways, incompatible in all the obvious ways, except for the fact that they live and breathe punk rock music, and they’re both raging at the machine. He performs his rage. It’s out there for all to see. She? You’d never know by looking at her that she is on FIRE inside. <\/p>\n

Movies like this matter, especially in a landscape where there just doesn’t seem to be enough oxygen and\/or TIME to absorb all the new releases tossed onto this or that platform, only to be buried the following week. <\/p>\n

So. See Dinner in America<\/i>. It’s in theatres now. It’ll be stream-able on the 7th. Once again, here’s my review for Ebert<\/a>.<\/p>\n