Splendor (1999)

Splendor: Magnificent richness. Great luster - Webster's New World Dictionary

Gregg Araki's first film after his "teen angst trilogy" is a watered down and highly accessible Araki film. But I think I mean that in a good way. "Splendor" just might be the best date movie of 1999. Maybe not for the FIRST date... but after you have gotten to know each other and things are getting a bit too stale.

Araki updates and, of course, then twists the "Jules and Jim" ideal with a 90's L.A. girl. Veronica ("90210's" Kathleen Robertson), quickly meets two guys and seemingly easily starts a three-way relationship with them, sexual and otherwise. The boys are, if course, at the opposite ends of the spectrum. One is a hard-bodied, rockus, spikey-haired airhead drummer (Matt Keeslar). The other, a sweet, intellectual yet self-absorbed writer (Johnathan Schaech). Yes, the idea is a bit obvious. Because they both represent the ideals women (and maybe gay men) seem to be looking for in a man: romance and hot sex, sweetness and roughness, passivity and aggression. But Araki doesn't hammer this in our heads. It just simply is a part of the story. The clue that he names them Abel and Zed (A and Z) is about the only obvious indication to what he is saying here. What Araki does that is surprising, later in the film, is throw in a third ideal to the mix. He takes a artistic and interesting, quirky plot and then treats it as normal. It works quite nicely.

The chemistry between the three is pleasant as well. It doesn't bubble or crackle with as much sexual energy and tension as I would like in a Gregg Araki film, but enough for most, I bet. I suppose I would have liked a little more sexuality between the two males, but that is my ideal, not the ideal for the story we are presented here. And so, Araki, is restrained. The guys do have moments together, but they are rather subdued and tame. It's all pretty sweet stuff.

I'm not sure, maybe Araki is trying to be more mainstream, maybe he just felt it was best for the subject matter. For example, Araki has always had interesting color schemes and set designs and art direction in his film. But, for the most part, the weird "visual" stuff here is in the apartment of an artist, a slightly edgy lesbian artist named Mike. I suppose one expects a lot from Araki. He has established himself as one of the most visually stunning directors of the 90's. Is he less of an artist because, instead of modern "pop" art, with it's obvious distaste for commercialism, Araki gives us cotton candy here? His visuals fit his film. Isn't that what we want from a director?

It isn't a complaint really. I liked the movie. It was interesting and involving. It had interesting visuals. It had awesome music. The acting was good. The plot and dialogue were crisp enough. And yet, it was a kinder, gentler Araki. I guess Araki is like Whiskey. Sure it's good and you like it, especially good and strong. But sometimes if you mix it with ice and Coke, it's just as good. Depends on the day. Depends on the party.

Yep. "Splendor" is a real pleasant diversion. It doesn't try to be deep or thought-provoking or shocking or cutting edge. Araki doesn't try and push any sort of agenda on us. His film is a wonderful romantic comedy that just might attract straight and gay audiences into the same theater. Along the way, as is his wont, Araki makes movie magic by never allowing morality or societal ideas to color the film. In Araki's world, if your gay, no one treats you that differently. No one thinks your unusual. There is never "peer pressure" in his earlier films. And the same is true here. It is suggested that the union of the three principle characters is unusual. And that others might think it perverse or odd. But no one directly questions it or judges it or condemns it. Veronica's desire to have a relationship with two men at one time is simply treated as another lifestyle "choice." She has other options, but she opts for what she wants, for what makes her happy, for what is in her heart. She opts to live by her own wants and needs - not by society's. And in pulling back and simply allowing his character to choose her own happiness and to discover her own path, Araki opens the idea that this is all any of us want to do. Gay or straight or bisexual or transgenderal or Baptist or Catholic or Agnostic or American-Indian or Asian or Caucasian or old or young or male or female.

That's a pretty "magnificent richness" in my book too. One with a "great luster" all it's own!

Note:

Also with Mink Stole (cameo), Eric Mabius, Kelly MacDonald, Adam Carolla (cameo), and Nathan Bexton (of Araki's "Nowhere" who is unfindable as a waiter in a cameo).

Robertson, Keeslar, Bexton are all in "Psycho Beach Party" due in 2000.

Report Card

Script: B+

Acting: B+

Cinematography\Lighting: A-

Special Effects\Make Up:B+

Music: A+

Final Grade: B+