Dubby’s dvdiscussion: People watching
"Adapted from Dirk Wittenborn’s book, Griffin Dunne’s movie starts as a perfectly
acceptable black comedy. The laughs suddenly cease after a brutal rape sequence"
Fierce People assumes that there are tribes amongst us in cities who are different generally in a bizarre way. In Fierce People a parallel between once such tribe who live in the prestigious Hamptons outside New York are compared to a tribe living in the Amazon. The person doing the comparing is 15-year-old Finn played by Anton Yelchin, who is in America with his mother when he wanted to be in South America with his father.
As the story unfolds we are surprised by the commonalities between “civilised” rich Americans and tom-tom beating sexually violent tribals. Except for one shot, for the most part the way director Griffin Dunne compares the two is wonderfully understated.
Critic Jeffrey Anderson says, “Adapted from Dirk Wittenborn’s book, Griffin Dunne’s movie starts as a perfectly acceptable black comedy. The laughs suddenly cease after a brutal rape sequence.”
An Art Magazine says, “A deliciously dark cutting satire.”
Yet another critic Nathan Rabin says, “People belongs to a strange burgeoning subgenre of period comedy-dramas like The Squid And The Whale and Running With Scissors about sensitive young men coming of age against a colourful backdrop filled with wealthy eccentrics skilled at making each other miserable.
It chronicles an exotic milieu where the pampered rich spend aimless lives lazily pursuing pleasure with money they didn’t earn. A regal Donald Sutherland lords over this world of money, secrets, and lies as a billionaire whose attraction to single mother Diane Lane at first appears to be nothing more than the lust of a dirty old man, but develops into something much more complicated and moving.
“Set in 1980, the film stars Anton Yelchin as a glib teenager eager to spend the summer in South America with a famous anthropologist father he’s never met, but ends up whiling the time away with his mom (Lane) at Sutherland’s sprawling estate. Instead of observing the rituals of the tribe whose nickname gives the film its title, Yelchin ends up observing an equally bizarre tribe in New Jersey’s moneyed elite, from a dashing playboy whose effervescent exterior hides a tormented soul (Chris Evans) to a gorgeous rich girl (Kristen Stewart) who takes an immediate liking to Yelchin.
Dunne and screenwriter Dirk Wittenborn take a detached sociological/anthropological approach to their material that often reeks of condescending disdain. Sutherland emerges as a figure of Shakespearean richness and Evans has his moments as a libertine whose wholesale rejection of conventional morality takes an ominous turn, but otherwise, the film depicts high society as a gallery of cartoon grotesques. Yelchin initially comes off like a jaded sitcom smartass, a little smirky and a little jerky, so his transition from jaded observer to wounded victim comes out of nowhere. Dunne’s messy, unpredictable, yet weirdly vital movie veers from one extreme to another without finding a consistent tone, but Sutherland never strikes a wrong note. Few other acting giants can convey great dignity even while discussing their baseball-sized prostates.”
Last word to James Berardinelli, “Fierce People starts out as a satire-tinged, jocular drama that undergoes a jarring shift in tone to the dark side. While the film successfully makes light of such subjects as drug addiction and coma victims during its first half, the event that occurs around the mid-point is so grim that Wittenborn’s screenplay simply closes down the humour and lets the film progress in a more sober fashion. In a way, it’s a shame, because Fierce People is a lot of fun during its first hour.”