There’s a certain set of descriptors we often hear in conjunction with the word.
The term is known best as an insult for backwoods hillbillies, but in one chapter of Appalachian history redneck was also used to spread fear of communist militants and oppress organized mine workers. The filmmaker shoots digital with saturated colors and high contrast, employing stylized cinematography and a fractured narrative logic as Woodrow’s mental state declines. The Unexpected, Radical Roots of ‘Redneck’. Nobody seems to care much for anyone but themselves, including Woodrow, whose despondence stems less from his breakup than his inability to measure up to his icon, the “Mad Max” character Lord Humongous, who is feared by men and desired by women. The characters of “Bellflower” seem driven to satisfy an unquenchable thirst for alcohol, sex, and cheap thrills. Though not in the same league, “Bellflower” has the same authentic meandering tempo as Gus Van Sant’s “Elephant.” Moments and character details that at first seem pointless soon gel into an insightful look at post-adolescent male ego. But once the plot kicks in, Glodell’s work with the camera becomes exceptional, capturing Woodrow’s delirium with increasingly expressionistic visuals. rednecks Adams emphasizes viciousness and obscenity to an extreme degree, only seldom touching on the theme of nuclear war He got the. Early scenes are devoted to the young couple gradually getting acquainted, lurching from moment to moment with precious little conflict to drive the action. Fiery explosions, bloody murder and a fragile male ego are all on display in Glodell’s long-nurtured opus, a script he wrote 10 years ago.īumpy going in the first act, Glodell’s work with a cast of first-timers results in lots of forced spontaneity and artificial chemistry. In his delirium, he conjures apocalyptic fantasies involving Millie, his flamethrower, and Mother Medusa. When things with Millie go south, Woodrow suffers a serious accident. Their first date takes them to a Texas roadhouse halfway across the country, and on the way they form a fast romantic bond. After your average meet-cute, where contestants compete in a cricket-eating contest, Woodrow falls for Millie (an unaffected Jessie Wiseman), a girl from the neighborhood. Woodrow and Aiden are building a flamethrower because, well, it will be “awesome,” a word which comprises an alarmingly high percentage of actor-writer-director Glodell’s dialogue.
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