Cheap Chattahoochee (DVD) (Gary Oldman, Dennis Hopper, Frances McDormand) (Mick Jackson) Price

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Customer Reviews of Chattahoochee

Completely Biased, I Admit...
Truthfully, I know nothing of this movie's history, nothing of the actual events from which it was taken. However, considering the film for film's value alone, its strengths are easily indentifiable. Gary Oldman is absolutely brilliant. Any fan who simply loves to watch him work, loves to study each inflection of his ever changable features, will be in heaven just as I was. Though there are many movies of his I enjoy more - few display his breadth and depth so completely. He's nearly flawless here, and is present in almost every scene. Dennis Hopper is also uncomfortably believable, and the supporting cast was perfect (Frances McDormand, Ned Beatty, Pamela Reed).

For those whose attention won't be secured by Oldman alone, or who aren't generally intrigued by stories of mental illness or the usual "injustice within the system" scenarios, this film may hold little for you. I happen to like these kinds of films, and therefore didn't find it to be as bleak as critics nationwide promised it would be. There were some interesting visuals, some touching scenes, some disturbing scenes, etc. It had the rambling gait characteristic of "stories inspired by actual events," and moved at a steady pace, though I was annoyed when it ended upbruptly with an odd lack of closure. What I did find daunting could be perceived as a sign of the time it was made or perhaps low dvd quality - some of the editing and cinematography were poor, and there were warped voice-overs and dubbing.

Bottom line? It's a must for Gary Oldman fans or anyone who needs proof he can play someone other than a villain, a maybe for true story buffs who care more about studying human nature than facts, and probably a good one to overlook for anyone who's looking for a film that is, taken all-in-all, uplifting or cinematically impressive

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inspired by a true story
Although believed to be ghost written, the horrors described in Frances Farmer's autobiography, Will There Really be a Morning?, of her mistreatment in a Washington state asylum during her confinement in the 1940's are indicative of the barbarism directed towards those classified as mentally ill. If Graeme Clifford's 1982 biography of Farmer with Jessica Lange only touched upon the snake pit she was thrown into, his touch was far lighter than the sledgehammer approach favoured by Mick Jackson in his tale inspired by the true story of Emmett Foley's 4 years in a Florida asylum.
Even if social conditioning allows us to accept cruelty against men more easily than similar acts against women, it's hard to feel anything for treatment similar to what Farmer endured - including electric shock treatment and drug sedatives - when the director commits as many aesthetic offences as those he presents his characters suffering from.
The main difference between the Farmer case and the one made here for Foley is that Farmer never tried to expose the system. She only fought to remain alive and sane, and it's still not known whether she was eventually lobotomised. Foley observes the injustice of an asylum run like a prison, where men are said to be insane but given no treatment and thereby held legally, and smuggles out evidence which eventually leads to reform and his own liberation. This isn't a spoiler because the outcome is obvious from the beginning. Another difference between Foley and Farmer is that Foley was a medalled Korean veteran, so that his heroism is never in doubt, whereas Farmer's position was more the spoiled movie star with the misfortune of a monstrous mother.
Jackson's heavy hand is apparent in the thundering music score of John Keane, and the way his camera crowds in on the actors, providing claustrophobic closeups. Given Jackson's lack of subtlety, it's miraculous that Gary Oldman as Foley, Dennis Hopper as another inmate, Frances McDormand as Foley's wife, and Pamela Reed as his sister manage to still make an impression. In particular, Hopper is free of mannerism, and McDormand pleasingly glamourised, with a Monroe-wiggle and a quick tongue.