Gummo, spine #1238, will release in the Criterion Collection on October 22, 2024.
Outside of Gummo and Spring Breakers I’ve not seen any of Harmony Korine’s filmography. Based on those two films I’d come to the conclusion that his vision and style of filmmaking didn’t align with the types of films I enjoy. Despite my negative first reaction to Gummo, which I watched in 2004 at the age of seventeen, I’ve never forgotten the movie and what a strange viewing experience it was. Now that I’m in my thirties and with the Criterion Collection releasing a brand new 4K transfer, it seemed like the perfect time to revisit it and see if my feelings had changed.
Gummo Plot
A mix of children and adults exist in poverty and isolation in a rural town destroyed by nature. They find unconventional ways to pass their time, like hunting stray cats and inflaming their nipples with adhesive tape.
The Review
Harmony Korine is a unique artist. Whether you love his films or hate them, there’s no denying the visceral impact they have. In his directorial debut he brings to life a world that is unrecognizable to most. It’s an existence so drastically different to our own that its difficult to imagine. There is no central plot or significant arc. There is no structured story or moral at the end. Instead, we’re dropped into a world overflowing with characters that defy the traditional standards.
The purpose of the film is seemingly to expose movie goers to an existence that they may otherwise pretend does not exist, while at the same time eliciting a reaction of discomfort. In that arena its a resounding success, as I felt uncomfortable through the majority of its runtime. It’s amazing how uneasy Korine can make us feel with something as simple as a child eating spaghetti in a bathtub.
The limits of an audience’s discomfort will greatly impact how they ultimately feel about the movie. My wife, for example, was unable to watch Gummo due to the significant role that animal abuse/killing plays in it. While the depictions aren’t necessarily graphic, numerous cats are killed throughout, and that element alone will turn many movie goers away.
As the credits rolled I found myself feeling similarly about Gummo as I did when I’d first watched it twenty-years ago. But as I sat on it, I couldn’t quite shake it from my thoughts. These characters, most of whom are young children, bring an innocence and a sweetness to the dirty, grimy world they inhabit. This is a life they’ve been born into, and while its likely not one they would have chosen, it’s all they know. As we follow them in their day-to-day lives we begin to understand them and, on a certain level, relate to them.
Korine brings a brutal honesty to Gummo, largely achieved through the casting of real life people with disabilities and disfigurements. This has its pros and cons, as some of the cast are clearly inexperienced. In one scene an actor looks directly into the camera three or four times (unintentionally) while stumbling through a series of incoherent lines. Ultimately, I didn’t love the movie, but I respect Korine for what he’s able to accomplish.
The Special Features
The special features include a new interview with writer/director Harmony Korine as well as a discussion between Korine and filmmaker Werner Herzog from 1997. There is an in-depth essay from film critic Carlos Aguilar, an appreciation piece from filmmaker Hype Williams and an episode of Split Screens: Projections from 2000.
Would I recommend this purchase? Despite my complaints and my discomfort, I would absolutely recommend this purchase to fans of the film or the filmmaker.
Is a worth a blind buy? Probably not. The movie is not for everybody and plenty of viewers will find themselves put off by the story and depictions.
Purchase your copy of Gummo from the Criterion Collection here.
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