Howl might be a one-of-a-kind film experience if not for Chicago 10, another film that blended documentary, dramatization and animation together into a blender of personal history. But what sets this film apart from that and all others is that poetry becomes interwoven into a courtroom trial procedural - all, apparently, taken from the actual court transcripts of what the prosecution/defense asked of the people on the stand - so that it becomes about free speech. At the same time it's a quasi-biopic on Allen Ginsberg, who was a real free spirit, but also a shy Jewish kid from New York city who lost his mother as a child and worried about writing poems that might irk the ire of his father (he even considered not publishing Howl for that reason).
It's a beautifully surreal little treat of a film that treats its subject seriously while also giving life to the epic poem that stays timeless, as with Walt Whitman's Leaves of Grass (which also gets name- dropped here). The filmmakers bring together the poetic readings - done by James Franco, one of his real 'embodiment' performances like Saul in Pineapple Express that is basically stunning - from in front of a live audience (where one sees how Ginsberg at first has an audience patient and waiting and then is full of life and looking forward to every next thing he says) and in animation. The poem becomes alive through the low-budget drawings, and depending on the stanza it can be at least acceptable and at most mind-blowing. You almost want the poem to go longer to sink in deeper to those Ginsberg stanzas that flow out with what appears to be stream of consciousness, but really has a structure to it.
Acting is fantastic - David Straithairn, Jon Hamm and in a one-scene keeper Jeff Daniels - Franco keeps things moving so well with his performance, and the poem is given it's best context in personal and social history. All of a sudden, thanks to a film like this, the material becomes alive again, like a student picking it up and sinking into it for the first time.
It's a beautifully surreal little treat of a film that treats its subject seriously while also giving life to the epic poem that stays timeless, as with Walt Whitman's Leaves of Grass (which also gets name- dropped here). The filmmakers bring together the poetic readings - done by James Franco, one of his real 'embodiment' performances like Saul in Pineapple Express that is basically stunning - from in front of a live audience (where one sees how Ginsberg at first has an audience patient and waiting and then is full of life and looking forward to every next thing he says) and in animation. The poem becomes alive through the low-budget drawings, and depending on the stanza it can be at least acceptable and at most mind-blowing. You almost want the poem to go longer to sink in deeper to those Ginsberg stanzas that flow out with what appears to be stream of consciousness, but really has a structure to it.
Acting is fantastic - David Straithairn, Jon Hamm and in a one-scene keeper Jeff Daniels - Franco keeps things moving so well with his performance, and the poem is given it's best context in personal and social history. All of a sudden, thanks to a film like this, the material becomes alive again, like a student picking it up and sinking into it for the first time.