KICKING BIRD
Independent filmmakers get very little credit. By chance, I received the opportunity to screen a some of the film "Kicking Bird" by Kelley Baker in duration of my final semester at WVSU. I purchased the DVD, and was overall pleased with the film.For those who don't enjoy the technical language of my normal review, the following is a watered down (as it took place before my refined system). Enjoy.
Kelley Baker's "Kicking Bird" is a thought-provoking look into the troubled life of a seventeen year old boy. The story is interconnected with the community, as if the viewer were observing it with a small looking glass, all the while knowing the story doesn't exist. The story is heightened reality—an enjoyable ride, but an almost overtly fictional one. Kelley Baker does an excellent job of planning his shots. He conveys his messages well in each frame. The central theme of the film is the foot-ward flight from danger.
Though Baker tends to push the point a little too far (Martin Johnson sleeps under the bridge, and perhaps has run away many of the friends he could have made), the themes are well drawn out and easily identifiable.
In a recent lecture, Kelley Baker conveyed the idea that his characters go through hell. The script exhaustively agrees. Baker uses harsh language to convey his harsh messages. Again, Baker shoves this down the viewer's throat (not in seductive and suttle intelligent banter). He uses the word "F*ck" as a comma (no, I'm not being prudish). As such, it isn't used for emphasis anymore. The language numbs the story to a point where the audience is no longer a participant of the story, but an observer. Baker's characters seem to be proving themselves and their "cool" to the audience. In this state, his characters are dehumanized and the believability is damaged. At times, the lines are flat-out ridiculous (a girl, after giving the coach oral sex, rises up, lifts her hands gleefully in the air, and asks "So, do I get an A?").
However, the general strength of the story tends to drown out the droning dialogue.The cast is above-average and enthusiastic (at times, too much: see girl/coach oral sex reference above). Ian Anderson-Priddy's "Martin 'Bird' Johnson" is a joy to view every time he makes an appearance. He gives a realistic, painful take on his role. His image undermines the character's intelligence—wherein shows his character's brilliance. "Bird" can outthink and outperform anyone he chooses, despite what the other characters may believe. The supporting cast is good, but they seem to be winking at the camera.
Danny Bruno's "Grandpa" is overplayed. His character and dialogue are good, but his affliction seems to bring out the worst in his character. However, it is hard to believe that his character is as physical as he tends to be (the believability of such takes away from the story a bit). Andrew Ox's "Digger" is numbed to stupidity. Unlike Bird, the script and story tend to make him dumber than what he truly is. The coach (Don Alder) is also a bit unbelievable. He sleeps with students, and is manipulative beyond comprehension. He also seems to manipulate beyond the scope of the performance. As such, the part comes across as silly rather than pitiful (in the modern setting of schools… one would think that the coach would have gotten caught in his sexual misdeeds).
The bright spots in the supporting cast are Stephanie Sidney's "Shelley" and Meriwether Snipes "Mandy." Unfortunately, the two are grossly under-used. They are not much more than filler, though they are representative of the "real world" trying to reach out to Bird and Digger. Furthermore, as Bird is lacking in other relationships, one would think he would at least attempt to cultivate one with Shelley (however, this may be one of the "points" Kelley Baker is trying to make—Bird is a human, and as such, makes a lot of foolish mistakes).
The lighting and sound are superior. The environment is portrayed in a film-noir like sense of dreariness and hopelessness, which speaks louder than the dialogue or performances. The characters blend in with the background, as if they are infused with the lackluster existence. The character's lines are clear and crisp (but this is a given, taking Baker's experience with previous large-budget films).
Despite the inadequacies of performance and dialogue, Kelley Baker presents an intense, immersing story. Each frame makes a statement. Baker does not divert from his central theme—when all else fails (people or events), running is the ultimate solution. The main character displays a multiplicity of brilliance and talent, despite his surroundings. The film works. Unlike other independent films, I recommend it to those who want to see a satisfactory independent motion picture. My final score: 8/10.
P.S.: Mr. Baker is a very, very cool fellow. I highly suggest meeting him.
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