It is not often that a reviewer such as myself gets asked to view a film that is not necessarily in the public eye.
As an art-house reporter, independent film is something I know a bit about; but the world of no-budget cult film
is a touch out of my domain. To be frank, I was a bit taken aback when I was asked to visit the April 15th rerelease
party/screening of "Carrot-Bird," a film I had to that day not heard of. Honestly, I thought maybe it was a veiled way
of laying me off. The reviewing department had taken some cuts, and ever since that chick from the mailroom had come in
and started doing somewhat risque' reviews of the more "adult" films, I thought my days were numbered. Little did I know just what lay
in store.
Let me say here that "Carrot-Bird" is not a film for everyone. Many of the well-dressed people who attended the screening
left with the words "I don't get it" on their lips. Let me also say that it was, at times, difficult to get in touch
with the inherent charm that the film carries. And there is quite a bit of charm here. "Carrot-Bird" is a classic cult film,
targetting its audience and not bowing to the more mainstream viewers. And therein lies its strengths.
"Carrot-Bird" never claims to be something it is not. There is no big title sequence, no big theme song
(MC Shaggity-Shag reportedly wrote a song for the film, but the directors turned it down.), no big production or
special effects to bring the viewer into the "Carrot-Bird" world. The film is one about two young men, played by
Jay Turner and Tony Paglia (who also directed, wrote and produced the film), and their search for identification
with a large and beautiful tree. It is as simple as that. The entire film consists of two shots, one ingenius camera movement,
and the on- and off-camera space around the "Carrot-Bird."
The film seems to be about the "Carrot-Bird," but in truth it speaks volumes about the characters in the film.
Carefully silly acting is used, court-jester-style, to communicate differences in the way the two characters react to the
world. Caricature is used to establish a story-book feel in the actions in the characters. And, after watching and contemplating the film,
watching these two brilliant filmmakers manipulate the audience into thinking that they are idiots is fascinating.
The sights and sounds of the film are as simple as its message, and allow a maximum in imaginative wandering on the part of the
audience.
The filmmakers' use of offscreen space is refreshing, as is their use of ambient sound. Particularly interesting are the times when Turner's character
walks around behind the camera and assists in providing a soundtrack for Paglia's character's antics. Also intriguing was the use of church bells and
airplane sounds to keep the minimal soundtrack from reverting to dead air. The dancing, singing and other antics are entertaining as well, and the fact that
the characters are not afraid to dance and sing to the tree when their dancing and singing skills leave much to be desired shows the down-to-earth quality
that the film holds at its heart.
"Carrot-Bird" is not a film that everyone will love. And yet, it never aspires to be such. It simply wishes to provide the audience with a mental playground, a
release from everyday problems and a gateway to a simpler world. In doing this, it completely succeeds. If you tire of big-budget movie corruption and "Die-Hard
on a Hovercraft," you should give "Carrot-Bird" a try. It is a heartfelt offering from two brilliant filmmakers with nothing to lose, who beg for nothing. And if you
don't get it, don't feel bad. Most of us don't.
© 1997 The Unofficial Carrot-Bird Fan Page
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