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George Richardson (Donald Holden) is the heroic soul
of writer/director David Gordon Green's poetic
coming-of-age drama George Washington.
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George Richardson (Donald Holden) ties a white sheet around his neck like a cape. A bicycle helmet is strapped tightly to his head. Loose-fitting wrestling tights complete the outfit. George, an African-American teen-ager growing up in rural North Carolina, is ready to be a makeshift Superman. The question is whether his heroism is capable of changing his impoverished life.
For anyone who insists that American independent film is dead, I recommend watching the heartfelt coming-of-age drama, George Washington, the debut feature from 25-year-old filmmaker David Gordon Green. George Washington captures the emotional clumsiness of adolescence like no recent American film I've seen. Just the sight of 13-year-old George in his make-believe superhero togs is inspirational.
George's weak skull necessitates that he wear a helmet constantly. Without it, his head could be seriously injured. This affliction makes him the most unexpected of boy heroes. He's also the soul of Green's extraordinary film.
Life unfolds languidly for George and his friends in the desolate southern town they call home. Vernon (Damien Jewan Lee), the town thug, convinces the waifish Sonya (Rachael Handy) to help him steal a car. Buddy (Curtis Cotton III) is heartbroken over his failed relationship with his would-be girlfriend Nasia (Candace Evanofski). It's Nasia, the film's narrator, who tells us how the quiet George reminds her of George Washington. The childhood days of George and his friends are appropriately delicate and dreamlike. That is, until roughhousing at an abandoned amusement park results in an unexpected tragedy.
George Washington is a hero's tale in its purest form. Green replaces popcorn variety action sequences, gunplay and explosive confrontations with matter-of-fact dialogue, youthful idealism and realistic performances. The dominant theme of the film is George's challenge to do what's right. George's desire for heroism is what drives him to jeopardize his own life and dive into a city pool to save a drowning boy. It's the same reason George eventually visits his father in jail. He wants to do what a hero would do.
"You remember when you told me what happened was an accident and I didn't believe you?" George tells his father, speaking outside the jail cell. "Well, I do now. I love you. I love you so much that sometimes I can't breathe."
I admit that George Washington is far from being the perfect movie drama. Its moments of extended silence often turn aimless. Some of the improvised dialogue feels clumsy and repetitious. But George Washington's flaws are heartfelt and sincere. They're the result of a youth drama intent on replacing cinematic formula with emotional honesty and truthful teen protagonists. Honestly, George Washington's shortcomings make me like it even more.
After watching George Washington, I have no doubt in my mind that Green is a film artist. There's magic in George Washington's stark photography of vacant rail yards and a desolate Main Street. There are moments when the film has the visual resonance of a landscape documentary. Its faraway shots (courtesy of photographer Tim Orr) are intentionally cool and distant. When the camera aims skyward, the experience is transcendent. It's astounding how Green captures the lethargic pace of George's life, as well as the people around him. This leisurely pace also allows Green to tell his complex story in a deliberate and subtle fashion.
Most Hollywood films ignore child protagonists and coming-of-age dramas. The few studio films that do tackle adolescent themes fall into the teen-romance category. But George Washington is worlds apart from sugarcoated fluff like Josie and the Pussycats and Bring It On. Instead, Green has fashioned a movie that matches the emotional intensity of the best youth dramas of Iranian filmmaker Jafar Panahi (The Mirror and The White Balloon).
It's impressive how George Washington never shies away from the darkness in George's life. I also admire how Green's sparse storytelling leaves many of the questions about George's personal life unanswered.
But the emotional heart of George Washington is found in the stoic expressions of Holden's face. There is confusion and insecurity behind his eyes. Every one of his clumsy gestures feels innocent. It's clear from his natural performance that Holden is more everyday boy than screen actor. His shyness looks too real to be categorized as a filmed performance. It's Holden's natural presence that ultimately makes George Washington feel so real and true.
If David Gordon Green never makes another film, there will always be George Washington to admire and celebrate. In the category of film debuts, I consider this film to be the American equivalent of François Truffaut's The 400 Blows. Both films share a documentary-like feel, indifferent adults and a troubled child hero. While Truffaut's character, Antoine Doinel, was the subject of four more films, it's difficult to imagine George Washington resulting in a movie sequel. Still, I would love to see Green depict George Richardson growing up in future films. I want to see George away at college, experiencing love and attempting marriage and a family. I have no doubt that these ongoing stories would be emotionally riveting. Certainly a character as poignant and heartfelt as George Richardson has more than one story to tell.
CityBeat grade: A.
