Pioneer/Horror Story

Written by Armond White on . Posted in Arts Our Town, Arts West Side Spirit.


McConaughey tries too hard in Dallas Buyers Club

Leto and McConaughey in Dallas Buyers Club

Leto and McConaughey in Dallas Buyers Club

The film’s concept mostly avoids sentimentality starting with Matthew McConaughey playing Woodroof in an extreme example of artistic dedication–losing weight to appear convincingly, repulsively unwell. But McConnaughey and his filmmaking associates, director Jean-Marc Vallee and screenwriters Craig Borten, Melisa Wallack, deny further identification with Woodroof by so thoroughly resisting audience affection (except for two sappy roles: a frustrated doctor played by Jennifer Garner and Woodroof’s business partner Rayon, a pre-op transexual played by Jared Leto).

Maybe there’s a kind of integrity to McConaughey’s method yet in the end it’s not so different from the same humorless stunt-performance route that actors have imitated since DeNiro’s physical transformation in Raging Bull. Not pitying Woodroof confuses sympathy with trite feeling. Woodroof’s hard-ass personality never develops–not even in the understanding that he shows to Rayon–and that’s more detrimental than the repugnant physical appearance.

McConaughey’s wizened, spindly look evokes the ravaged image of Rock Hudson whose AIDS death is featured early in the film as a sign of that dark era and of the shocked naivete among Woodroof’s blue-collar homophobic folk. This suggests an actorly tribute to Hudson that’s more honorable than Steven Soderbergh’s ridicule of Liberace, another celebrity AIDS casualty in the disgraceful Behind the Candelabra, yet McConaughey’s empathy doesn’t extend to the film’s almost affectless depiction of Texas grit and ingenuity.

Because Dallas Buyers Club is also a story about medical and entrepreneurial pioneering, Woodroof’s orneriness should reflect his culture as a study of American character. As a bio-pic, this is less smart-ass than Gus Van Sant’s Milk but unfortunately, the bio-pic momentum–a look at a prophet that is simultaneously a tragedy–goes downhill. And McConaughey and Leto’s genuine efforts go with it. Their performances (McConaughey’s deadly earnest and the dreamy sensitivity Leto’s had since playing Jordan Catalano on My So-Called Life) show good faith but are not on the same level as Eric Caravaca and Bruno Todeschini in Patrice Chereau’s Son Frere, the AIDS masterpiece that avoided mentioning AIDS.

Chereau’s emotional intensity got to the essence of physical tragedy and spiritual triumph while Dallas Buyers Club (a bizarre title for a bio-pic, it makes peace with capitalist greed and medical helplessness) seems afraid to show emotion about a topic where emotion is natural and earned. Dallas Buyer’s Club avoids identifying tragedy or triumph. Its modesty is immodest and feels wrong-headed. Part-pioneer bio-pic, part horror story, is this “entertainment”?

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