Howl review

Starring James Franco, David Strathairn, Jon Hamm, Bob Balaban, Jeff Daniels, Mary-Louise Parker, Treat Williams, Alessandro Nivola, Todd Rotondi, Jon Prescott, Aaron Tveit. Written and directed by Rob Epstein and Jeffrey Friedman.

"[W]ho let themselves be fucked in the ass by saintly motorcyclists, and screamed with joy". Perhaps this scream of joy is the one suggested in the title of Rob Epstein and Jeffrey Friedman latest, successful collaboration, Howl.

Based on the life of 1950s hipster poet Allen Ginsberg (James Franco) and his fiery, homoerotic poem “Howl”, the film neither feels like a documentary or typical narrative, but rather melds elements from both storytelling methods.

The film is separated into four sections: animated sequences, a simulated one-on-one interview between Ginsberg and a faceless reporter, scenes of Ginsberg’s life (including his various friendships and homosexual romances), and the 1957 San Francisco obscenity trial involving Ginsberg’s publisher, Lawrence Ferlinghetti (Andrew Rogers).

If for nothing else, Howl can be commended for its creative, atypical presentation. Much of the film is Ginsberg’s energetic recitation of the poem alongside beautifully vivid and hypnotic animation, guiding the viewer from line to line of the poet’s fiercely sexual and uninhibited prose. For the few minutes of each animated sequence, we are transported, perhaps, to the inner workings of the poet, where thought flows freely and effortlessly as each verse washes over the audience.

Writer/directors Epstein and Friedman attempt to emotionally connect the audience to Ginsberg primarily through use of interview scenes, which are spaced sporadically throughout the film alongside the three other aforementioned storytelling elements. These segments are among the most successful in the film, giving context to both the poem’s lyrics and the dramatized scenes of Ginsberg’s life.

The poet recounts everything from stints in the mental hospital to creative and sexual inspirations in artistic colleagues such as Jack Kerouac and Neal Cassady. Scenes of Ginsberg’s life are tossed in, with the interview sometimes carrying over to be used as voiceover. These scenes, in which Franco is physically moving and interacting with other characters on screen, are among the best in his performance. The problem is that these scenes are too far and few between.

Franco is not particularly believable in the more serious, one-on-one interview scenes, requiring a more focused, reflective, and aged Ginsberg. Sometimes to the detriment of his performance, the introduction of Franco’s crazy, wide-eyed smile fails to connect as one of the eccentric artist, but more so as a goofy expression from one of the immature, pot-smoking characters from previous works, such as The Pineapple Express.

However, the most distracting element of the film is undeniably found in the courtroom scenes of the obscenity case. During these scenes, which appear unannounced and seemingly randomly among the others, Jon Hamm (in suit and slicked back hair, looking fresh off the set of Mad Men) plays defense attorney Jake Ehrlich squaring off against a dimwitted and unsophisticated prosecutor (David Strathairn).

The entire courtroom segment of the film is useless. The verdict only affects publisher Ferlinghetti, and is insignificant to Ginsberg. Furthermore, the case isn’t a fair fight from the beginning. The smart, quick-tongued Don Draper-esque figure in Ehrlich is easily victorious against the seemingly uncultured prosecutor, who bases his (1^st Amendment ignorant) accusation of indecency on the belief that the common man could not understand Ginsberg’s work and should therefore be offended by its sexual language (what?!).

Even with the unnecessary scenes and my underwhelming sense of understanding for Ginsberg’s life and character, I left the theater feeling inspired by Howl. Perhaps due to the imaginative combination of animation and lyric, or the bravery to produce a truly original film, so unlike the biopic I thought it might be. Whatever the reason, Howl is an excellence choice, both for fans of the poet and for anyone who appreciates (albeit, more explicit) poetry. And that’s nothing to bark at. Or howl.