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- SEE YOU IN THE FUNNY PAGES MEANING MOVIE
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SEE YOU IN THE FUNNY PAGES MEANING HOW TO
Robert has a ways to go before he catches up to Kline, whose filmmaking here is seamless and confident: He knows how to shoot, and how to stage a scene (an almost lost skill).
SEE YOU IN THE FUNNY PAGES MEANING MOVIE
Both he and Kline have touchstones and influences, and each is working within established frames - the comic-book panel, the movie screen - while also pushing against limits, finding their voices, making their marks.
These milestones give the narrative rough shape, but are less the point than Robert’s textured, buzzingly alive, if anxious and pointedly cloistered male world. Things happen quickly, and before long he’s arrested, drops out of school and moves out of his family’s house. Shortly after “Funny Pages” begins, Robert’s life is upturned by a traumatic loss that sends him quietly spiraling and sets the story on its way. He’s deeply fond of all his characters, even the most abject, which is an ethos in itself. Yet while Robert can be cruel, especially to Miles, Kline never is. He reveres Katano but continually hurls brickbats at his closest friend, the unfailingly loyal Miles (the newcomer Miles Emanuel), another comic-book artist. (Kline knows his target audience.) Robert’s rebellious gestures are puny and transparent. He argues with his exasperated parents (Maria Dizzia and Josh Pais), insults other teachers and sneers at Marvel superheroes.
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Among the film’s virtues is that it’s exhilaratingly free of the do-gooder, aspirational current that runs through so many ostensibly independent features (unless you too aspire to Crumb-like artistry), and that effectively repackage the same Sunday school moralism the old-studio movies did.Ĭaught between childhood and adulthood, Robert struggles, though he often just squirms. It also puts the viewer on notice, announcing the movie’s unflinching embrace of the impolite and the incorrect. The opener establishes the claustrophobic milieu as well as the open, visceral intimacy between Robert and Katano, admiration radiating off the student’s face as the teacher blows cigarette smoke out the window. Lavishly praising Robert - and dividing his cartoons as either Michael Jordan or Kobe Bryant great - Katano urges him to submit his work straight to Mad Magazine. Katano (an indelible Stephen Adly Guirgis).
Our Robert hopes to attend art school, an ambition that doesn’t sit well with his mentor and teacher, the shambolic Mr. In classic striver mode, Robert yearns to become what he isn’t yet, in this case a great cartoonist in the vein of Robert Crumb and his underground comix brethren. The economic if event-filled story fits the coming-of-age template in its broadest, less romantic outlines. Or at least his bad attitude: Robert talks big (and mean), but is desperate for validation, one problem being that he seems to despise almost everyone. There’s nothing obviously nice about Robert - a fantastic Daniel Zolghadri - a churlish 17-year-old whose talent is engaged in an escalating war of dominance with his narcissism. It’s startling how good the film is, partly because independent American cinema is clogged with bland coming-of-age fictions about nice kids. No one is spared in this portrait of a young artist as a pain in the butt. Scabrous, painful and true, it tracks a high school senior who, in his ambitions to be a comic-book artist of the highest, purest order, steamrollers over nearly everyone in his life. The young director Owen Kline packs worlds of cringe into “Funny Pages” - shame, disgust, embarrassment, sweaty sexual panic, acres of pustules - it’s all here in this terrific, tonally flawless feature debut.
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