Dir.
David Caffrey, 2003, US/UK, 88 mins
Cast:
Johnny Knoxville, Michael Shannon, Christina Applegate, Robert Forster, Gabriel Macht
In general layman's terms, the word 'cult' usually refers to some obscure creative or created entity that means nothing to the majority of the world and everything to a few. The almost pathological following that such individuals and their work incite hovers between touching, amusing and sometimes disturbing. What's more they tend to inspire all manner of urban legends, particularly after the creator's worldly demise. If this is the definition of a 'cult following' then welcome to the cult of Gram Parsons. At which point a vast many of you will be saying 'who?' whilst a significantly smaller number will be turning somersaults of joy.
Gram Parsons is the man credited with marrying country music with rock music. Formerly the front man with the Byrds, his Flying Burrito Brothers Album "The Gilded Palace of Sin" is considered the turning point for rock and country crossover. Country icon Emmylou Harris was his protégé; The Rolling Stones were both influenced by and wrote a song about him, and tribute albums and concerts feature such illuminaries as Elvis Costello, Sheryl Crow, and Beck. In short, his legacy is huge. He also died from a tequila and drugs overdose in a motel room in 1973, aged just 26. The fact that his body was then stolen by his road manager, the notorious Phil Kaufman, to be cremated under the famous Joshua Tree just compounds the legend. See. pure cult.
Gram Theft Parsons is the slightly fictionalised account of that hi-jacking. In truth, you don't need to know a lot about the man to enjoy the film but it goes some way in explaining why one man should risk life and limb, the wrath of a covetous woman, and a spell behind bars, just to fulfil the conditions of a drunken promise.
Jackass' Johnny Knoxville plays Kaufman, and very good he is too, delivering a wild-eyed, edgy but intelligent performance.
On hearing of his friend's death, Kaufman determines to make good his words and sets off to track down the body. Meanwhile, Parson's shrew-like ex, Barbara (a fictional character played by a convincingly mean Christina Applegate) has a scrap of paper that says all Parsons worldly belongings are to go to her - except she needs the body in order to cash in. And then there's Parsons dad (Robert Forster), the absent father who belatedly wants to do the right thing by his son and give him a decent send-off. Add to this a few cops in pursuit and you have - as one paper put it - Weekend at Bernie's meets The Cannonball Run .
Kaufman needs transport for the body but nothing is simple in this tale. He hires a yellow hearse, adorned with painted flowers. Bernice (the hearse) belongs to a hippy (Michael Shannon) who insists on chauffeuring - very slowly and very badly - Kaufman and his cargo himself. The interplay between these two characters is delightful. Shannon 's hippy is sweetly naïve and a great foil to Kaufman's pent up impatience and barely concealed incredulous disdain for the travelling companion he's forced to tolerate. The humour is a touching mix of subtle, well-timed performances coupled with slow, prolonged slapstick. We share Kaufman's exasperation when "the hippy" manages to run into a roadsign (the only obstacle for around 200 miles), or flips when he realises what he's REALLY carrying in his beloved car. At the same time we love this childlike creature, and Kaufman's frustration is that of a tired mother trying to hurry along an oblivious three-year-old who wants to slowly dawdle.
This touching and quirky relationship is the visual focus of the film, but it is the deep and profoundly moving relationship between Kaufman and Parsons that drives the film. Here we have a warm exploration of the bonds of friendship and loyalty, capturing the counter-culture of the era, when peace and love and being true to oneself was all. The setting of the desert highway and the well-chosen soundtrack imbue the film with a warm, lazy atmosphere that makes us think that Gram Parsons really wouldn't have wanted it any other way, his spirit being released into the ether in the place that embodied all he stood for. This is an alternative love song to a man who clearly holds a special place in the hearts of many - funny but not overly so; tender but not maudlin. I don't know much about the man himself, but the film tells us enough to think that had he still been resident, Mr Parsons wouldn't exactly be turning in his grave.
Jean Lynch
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