Director: John Krokidas
Runtime: 104 minutes
With John Krokidas’ Kill You Darlings, we are given yet another entry into the still-burgeoning Beat Generation brand. At this Sundance alone, we have been helped with two servings of Beatnik, Krokidas with Darlings and Michael Polish with Big Sur.
In this incarnation, the movement begins with a murder. It’s a compelling opening to a mostly compelling, if surprisingly standard, biopic. The central subject is Allen Ginsberg, played with considerable bravado by Daniel Radcliffe. A Jewish teen living in New Jersey with his crazy mother (Jennifer Jason Leigh) and put-upon father (David Cross), Ginsberg gets into Columbia University, and his life changes forever.
A large part of this change comes thanks to a beautiful blonde rebel named Lucien Carr (Dane DeHaan), who challenges Ginsberg to break out of his shell and experiment in every way possible. Soon enough, Ginsberg is infatuated with Lucien and the group of artists he’s surrounded himself with, including a young William Burroughs (Ben Foster) and Jack Kerouac (Jack Huston). There’s also the older David Kammerer, played by an extra creepy Michael C. Hall. The deeper Ginsberg falls for Lucien, the clearer David’s dependence on the young rebel becomes, and vice versa.
Fast-paced and full of energy, Kill Your Darlings does its very best to expose the importance of the Beat movement and the individual importance of all those involved. Ginsberg, Burroughs and Kerouac are each given their origin stories, the three young men growing up around the tragedy of Lucien Carr and David Kammerer.
And while this be the most engaging cinematic adaptation of the movements since David Cronenberg’s superbly strange Naked Lunch, there is still something missing. Despite its snappy direction – impressive considering this is Krokidas’ feature debut – and solid performances, the investment in these characters as real human beings never fully lands.
We are always watching Daniel Radcliffe play Allen Ginsberg and Ben Foster play William Burrough and so on and so forth. Everything is explained a bit too much, every character turn a bit too tidy. Watching portraits of these particular artists as young men serves as a most interesting history lesson, but portraits they remain. The film’s climax, in which we are required to be fully engulfed in Ginsberg’s love/hate for Carr, is slightly muted by this arm’s length of emotional resonance.
Somewhere, lurking in the corner of some book written by Kerouac or Ginsberg or Burroughs, is a tale that will expose this artistic renaissance in all of its full, tragic glory. Krokidas is close here. Damn close.
In the case of evaluating David Cronenberg, — or at least forming the sort of career narrative seemingly essential to auteurist analysis — it’s inevitable to propose something of a rupture within his oeuvre: the very evident graduation from grindhouse to arthouse, and, with it, an ascension from body to mind. What dictated these labels […]
Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. If we were provided screener copies, we’ll have our own write-up, but if that’s not the case, one can find official descriptions from the distributors. Check out […]
Writing about the films of Robert Bresson usually begins by informing reader that his films must be discussed through a trance of hushed tones and quiet veneration. There is no room for rushed judgement or quick-witted observations; Bresson makes Serious Art, as opposed to Hollywood directors who do not. There are the key phrases to […]
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we believe it’s our duty to highlight the recent, recommended titles that have recently hit the interwebs. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of […]
Latest posts from Beats Per Minute