Journal of American Studies of Turkey

5 (1997) : 101-102.

Film Review

Three Tickets to Loserville, or American Low-Fi Hits the

Screen: Palookaville (1995), Trees Lounge (1997), Big Night (1997)

Michael Opperman

The Years 1996 and 1997 have seen a number of interesting directorial debuts (see
the Journal of American Studies of Turkey 4 Fall 1996, 107-110). Some of these
debuts have been called “Off Hollywood” or “independent films,” although such
labels are highly misleading. For the three films discussed here the term “low-fi”
seems preferable because, first of all, they were produced on a shoestring budget
(compared to normal Hollywood standards). Secondly, they all feature actors who
have not reached the level of superstardom yet (although some of them are
household names among the critics). Thirdly, they all focus on true-born losers who
will never become part of the American Dream. In short, all characters in the films
in question face the danger of being Lost in Oblivion (Tom de Cillio 1995).

Palookaville (1995) made its belated appearance at our European cinemas early in
1997. Alan Taylor’s film is an intellectual comedy with dark undertones which
takes place in New Jersey City. We can see the skyscrapers of Manhattan on the
other side of the river. This side of the river, though, is Loserville. It is the
hometown of Russ (Vincent Gallo) who constantly quarrels with his brother-in-law,
and of Sid (William Forsythe) who is unemployed and whose wife has run off. He
now shares his bed with two “Beethoven”-type of dogs who constantly ask for
attention. Jerry (Adam Trese) is the prime loser; he is totally devoid of energy. His
wife earns the money by working in a supermarket; when the manager makes
advances to her, Jerry collects his last energy resources and knocks the guy out.
Betty loses her job. For all the characters in the film, life presents itself as a dead-
end; even the attempt to rob a jewelry store (which is shown in the film’s opening
sequence) turns into a comic fiasco. Russ and his gang, unable to read a
construction plan correctly, break into a bakery instead. The gang seek inspiration
from Richard Fleischer’s film Armed Car Robbery (1955), but their own attempt
turns into the most hilarious fiasco in the history of film. In Palookaville dreams
exist only in order to be forgotten. Love bears the name of Enid (Bridgit Ryan) who
is a very sleepy creature. Her short affair with Sid is about as exciting as her tea
bags. All in all, Palookaville appears as the visual equivalent to Beck’s famous
“Loser” song. It is a film, however, which, towards its end, allows its characters a
very surprising sparkle of fame.

Trees Lounge (1997) is the directorial debut of actor Steve Buscemi who, after
working as train driver, car mechanic and fireman, has managed to establish
himself as an icon of “independent” cinema. He is especially remembered for his
parts in Fargo (Joel and Ethan Coen 1996), Reservoir Dogs (Quentin Tarantino
1994), and the eternally great Lost in Oblivion, a film that will always remain the
best “low-fi” movie about the making of a low-budget film. Buscemi started his
career in Valley Stream (Long Island ) which is also the setting of Trees Lounge.
Buscemi is Tommy Basilo, a notorious barfly who spends nights and days at the
run-down Trees Lounge Bar. After losing his job as a mechanic as well as his
girlfriend Theresa, Tommy experiences the penultimate anticlimax. A career as ice
cream man promises a new start, especially when 17-year-old Debbie (Chloe
Savigny of Kids fame) joins him on his daily tour. However, Debbie is the niece of
Tommy’s ex-friend Theresa, and when Debbie and Tommy spend a night together,
Tommy turns into the town’s best hated man. Trees Lounge is a film with strong
autobiographical undertones which are also emphasized by the appearance of
Buscemi’s brother Michael and the director’s 5-year-old son. In a careful blend of
fiction and reality, Tommy appears as Buscemi’s alter ego. Tommy demonstrates
what might have happened to Buscemi if he had stayed in Valley Stream. Thus, the
Trees Lounge Bar with its prehistoric furniture and dinosaur jukebox (vinyl only)
serves as a kind of metaphor of small-town life in America. At the Trees Lounge
losers are still personally known.

Big Night (1997) is the writing and directorial debut of actor Stanley Tucci. Tucci
also plays the role of Secondo, the more pragmatic of two Italian brothers. Secondo
tries to keep their restaurant in New Jersey afloat while Primo (Tony Shalhoub)
believes in a “cuisine extraordinaire” beyond the level of Italian fast food. The
summer of 1959 sees the brothers’ “Big Night”: Singer Louis Prima is supposed to
appear. His coming should turn the ailing restaurant into an “in place.” For that
occasion, Primo has prepared a spread that “makes Babette’s Feast look like a
McDonald’s drive-thru” (John Perry in the New Music Express, 31 May 1997, 29).
However, it is all an intrigue initiated by Secondo’s and Primo’s business rival (Ian
Holm); the “Waiting for Louis Prima” is in vain, and the brothers face the state of
bankruptcy. Stanley Tucci’s unspectacular film pays homage to the Italian
immigrants who try to preserve their culture in the New World. The film also
shows a warm and perceptive handling of family tensions that build up between the
two brothers. All in all, Big Night is a deeply touching social comedy, that becomes
especially engaging during its uncut, single-take finale. The use of the camera
displays real mastery here.

The film serves as a kind of metaphorical comment upon America today. Its major
theme, McDonald’s vs Cordon Bleu, points to a culture in which the economically
powerful dictate a dubious kind of amalgam that is being advertised as a melting
pot. In that respect, the display of individual talent in all three movies is quite
surprising. It seems that, by creating their films, the three directors have left
“Loserville” for good.