On October 26, 2001, writer-director Richard Kelly’s feature film Donnie Darko opened in theaters. The movie had previously premiered at the Sundance Film Festival earlier that year. Starring Jake Gyllenhaal and Jena Malone, the film grossed just over $8 million globally upon its initial release.
Suburban Alienation and Teenage Angst
The Hollywood Reporter described the film as a mix of teenage alienation, anti-authority themes, and personality disorder. The review noted that the movie appealed to a neo-Heathers style of anti-establishment storytelling. It was seen as having blistering satirical slants and acidic jabs at middle-class life.
The narrative focused on the brooding downward spiral of its titular character. The film fused black comedy, paranormal activity, and teenage angst. The review observed that the narrative ultimately burst into a confusing meltdown. However, it was stoked with enough wiggy comedy and incendiary situations to keep its target teen audience satisfied.
At its Sundance screening, there was a generational gap between younger and older viewers. Pockets of the audience howled with glee while others sat in stony silence. The film was categorized as part of the alienated, upper-middle-class, private school-kid genre.
Performances and Visual Style
Jake Gyllenhaal delivered a morose and brittle depiction of Donnie Darko. The review highlighted his performance as a consistent high point, conveying the dementia and vulnerability of the stricken boy. The well-assembled cast included Patrick Swayze as a motivational huckster. Mary McDonnell and Holmes Osborne provided empathetic performances as Donnie’s burdened parents.
Drew Barrymore appeared as a caring, iconoclastic spirit, while Jena Malone was sympathetic as a broken-home teen. The review praised the dark gloss and potent story sheen, which were perfectly conveyed by cinematographer Alexander Hammond.
Richard Kelly demonstrated a nimble inventiveness in fusing various narrative forms. The review noted that Kelly had a flare for visual humor and a deadpan wit. However, it also pointed out that the paranormal and special-effects aspects of the storyline became an aesthetic play toy. This eventually did in the story as it descended into a hyperactive haze of disconnected energy and incomprehensible plotting.
The review concluded that Kelly glazes past structural and motivational problems with showy aesthetics. These aesthetics did not conceal the innate half-baked nature of much of the story. Despite this, the filmmaker was seen as having a sophisticated work with the players. The review suggested that once Kelly got the sophomoric rabbit off his back, he was likely to burgeon into a very accomplished filmmaker.
Source: The Hollywood Reporter
