2018 has been a good year for documentaries but a stale one for biopics so far. There are some promising titles coming down the pipe in the fall like First Man (about Neil Armstrong and the Apollo mission that landed him on the moon) and Bohemian Rhapsody (following Queen leading up to their performance at Live Aid in 1985) but Movie Pass Ventures’ Gotti absolutely tanked at the box office and set the bar relatively low. So, when it came to the story of satirical American cartoonist John Callahan, I wasn’t exactly waiting with bated breath. However, Don’t Worry, He Won’t Get Far on Foot was a surprisingly heart felt and effective look at the peaks and valleys of Callahan’s life.
Acclaimed director Gus Van Sant had been in the process of trying to bring this story to the big screen 20-years ago, but the timing just wasn’t right. He adapted the screenplay, from Callahan’s autobiography of the same name. The film focuses heavily on the cartoonist’s alcoholism and self destructive decision making which made him a quadriplegic. Through that narrative focus, Van Sant is able to shine a light on some of the internal torment that is present in the human condition…regardless of our station.
This project must have been kismet because, true to form, Van Sant displays a wickedly malleable sense of humor which goes a long way as a coping skill. Due to the nature of the film, the dialogue is much more introspective and personal. There are plenty of characters available to write some of the chapters of John’s life, but it was important for the individual to embrace the journey and that’s reflected wonderfully in the script. The path to sobriety is beset on both sides by the selfish indulgence of temptation and the crippling fear of facing your true self, so throughout the film Van Sant puts us right there with Callahan. Often times it’s not the most comfortable place to be, but it’s still really funny quite often and that’s okay too. The narrative choice becomes a bit bogged down as it bounces around in both time and perspective. While I’m positive that Callahan’s road to sobriety certainly took him in circles, it doesn’t play so well on film. However, it’s looking like a Best Adapted Screenplay award could be within grasp for Van Sant but that’s also due to some excellent performances from his cast.
Chief among them was Joaquin Phoenix as John Callahan. I would imagine this project must have been particularly cathartic for Phoenix and Van Sant (who had developed a close kinship with Joaquin’s older brother River during the filming of My Own Private Idaho). River had struggled with alcohol abuse before his death in 1993 due to a drug overdose. Joaquin was present at the Viper Room that night and stepped away from acting but it was actually Van Sant who welcomed him back with the role opposite Nicole Kidman in his film, To Die For. Perhaps I’m reading too much into it but maybe, by getting into Callahan and grappling with his own history of alcoholism, Phoenix was able to connect with his brother in some new way. The result is a painful but honest portrayal of a man who is swallowed by inner turmoil long before the car crash that nearly took his life and left him wheelchair bound. Joaquin continued to show his diversity and dedication to the craft with this intimate depiction which may very well serve to help others dealing with alcoholism or substance abuse. Even playing a quadriplegic, this was a very physically demanding role that surely took its toll. While he was both fun and painful to watch at times, I don’t think this will be one of the top performances left standing at year’s end and may even lose out to Phoenix’s other role in You Were Never Really Here.
While this wasn’t a breakout role for Jonah Hill, it very well may have been a breakthrough performance as Donnie, the strangely Christ-like AA sponsor who helps John and many others try to get their lives back on track. Hill has proven himself to be more than capable as both a dramatic and comedic actor, but this particular portrayal was softer and more nuanced than anything I’ve seen in his previous work. I could be wrong, but his propensity for comedy pigeon holed him into something of a commodity which he cashed in on wisley. In this instance, his sense of humor and natural timing play a significant role but Donnie isn’t the kind of character who is constantly firing off punchlines. The humor comes much more organically through the characters and the situations in this setting. As of right now, I would think it’s difficult not to include Hill in the conversation for Best Supporting Actor.
Kathy Driscoll and the incomparable Francine Maisler put together a stacked cast which resulted in some really enjoyable performances across the board. Jack Black played the fast talking, hard drinking, Bob Dylan-hating Dexter. He and Phoenix are a blast to watch together and Dexter plays a significant role as the man behind the wheel during the catalysing car accident which lays the groundwork for the rest of the story. Rooney Mara worked opposite Phoenix in their second project this year (Mary Magdalene) as Annu, a kind of candy striper who tries to help Callahan through his recovery. The two form a romance and have good chemistry, but that isn’t the meat of the film and the relationship evaporates as the story reaches its conclusion. Beth Ditto, who does a great deal of music work for television and film, stepped up with a vibrantly dominant performance as Reba. A member of John’s AA group suffering from heart cancer, she’s quite the ball of energy and has no problem standing up for herself in the face of consternation. Easily recognizable character actors Udo Kier and Emilio Rivera also lent there talents to the film.
Danny Elfman is one of those names that immediately provides credibility to whatever project he is a part of. He’s scored over 100 films and television shows, but somehow this is the first I’m reviewing, and has shown vast versatility throughout his career. This wasn’t the kind of original score that is going to go down as iconic, or even particularly memorable, but it’s fine quality work done by one of the best in the industry.
While this wasn’t the best movie of the year, I enjoyed it plenty. It had been on my radar for a couple months and it certainly wasn’t a disappointment. The political incorrectness is refreshing even if it kind of wallows there a bit too long, but the performances raise the level of the whole film. Considering how long Van Sant had waited to finally get this movie made, it didn’t carry the weight of two decades of inactivity.
Recommendation: For fans of Gus Van Sant, this is obviously a must see and anyone who was a fan of John Callahan’s work as a cartoonist should probably watch it too. As a fan of Joaquin Phoenix more that either of the aforementioned, it was enjoyable. The subject matter will certainly hit closer to home for those struggling with substance abuse and those close to them, but the lessons about living and quality of life as there for everyone.