Gus Van Sants MY OWN PRIVATE IDAHO erfasst die weiten Landschaften mit rauer Poesie. Ödland, und doch irgendwie Zuhause. Der narkoleptische. MY OWN PRIVATE IDAHO. Su, | FILMCASINO. A key film of New Queer Cinema and the big bang of Udo Kier's career in Hollywood: Gus Van Sant. Der US-Regisseur Gus van Sant hat mit seinem Film „My Own Private Idaho“, der hierzulande unter dem Titel „My Private Idaho – Das.
Düsseldorfer Film-Kunst-KinosMay 5, - Watch My Own Private Idaho (): Full Movie Online Free In This Loose Adaptation Of Shakespeare's. Shakespeare in My Own Private Idaho - Vergleich mit Shakespeares Dramen King Henry IV Part 1 und King - Anglistik - Hausarbeit - ebook 4,99 € - GRIN. My Own Private Idaho. USA, FilmDramaKultfilme. Mike und Scott, zwei Strichjungen unterwegs durch ein trostloses, puritanisches Amerika.
My Own Private Idaho BIOGRAPHIES VideoThe B-52's - Private Idaho (Official Audio)
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Alternate Versions. Rate This. Two best friends living on the streets of Portland as hustlers embark on a journey of self discovery and find their relationship stumbling along the way.
Director: Gus Van Sant. Writer: Gus Van Sant screenplay. Available on Amazon. The main problem is that little is done to first establish an emotional connection to the main character.
Because of that, the rest of the film lacks in dramatic impact. Things happen, the film ends, and the impression is that while the film was decent enough, it could have been better.
Robert B Super Reviewer. Feb 17, Though possessed of little substance, My Own Private Idaho speaks to the same part of your brain that Party Monster or the like might, and a film that speaks to you at all is a film of merit.
Gimly M Super Reviewer. Jun 01, Shoot, you can keep your potatoes and wolves, because if I was to privatize my own state, I don't know if I would go with Idaho, although it is better than Iowa.
I can't believe that Gus Van Sant didn't make this "My Own Private Oregon" or something Man, Van Sant sure loves him some Portland, about as much as men, and he was able to put gay themes in here, so I reckon this is a definitive film for him.
Yeah, as if "Stand By Me" didn't feel a little fruity already, enjoy this spin-off in which Chris Chambers goes gay and hooks up with Keanu Reeves.
No wonder Wil Wheaton is such a big gay activist, seeing as how he missed his opportunity to actually play with River Phoenix, a secret to success which is reflected in Reeves, because, of all people to be driven to notoriety with Phoenix, how did it end up being Reeves and not Wheaton?
I joke, but this feels about as much like the sequel to "Stand By Me" as it does like William Shakespeare's "Henry IV" and "Henry v", and if you're wondering how, well, it's because it doesn't feel that much like either "Stand By Me" or Shakespeare equally.
Really, I can't figure out what this film is going for a lot of the time, for although this film is mighty decent, even with its being about men's lack of decency, it's hard to get a grip on anything about it, including its characters' depths.
Immediate development is seriously lacking in this often very sudden character piece, and quite frankly, gradual characterization isn't too much more extensive, relying on the occasional piece of forced exposition to punctuate long lapses in character focus that storytelling works to fill with mere excess.
Style isn't the only thing placed over focus in this film, as filler all too often claims the focus of the narrative, thinning it, until storytelling slips into bland aimlessness that would be less frustrating if all of this bloating didn't eventually lead to unevenness.
As big an issue as anything is a disjointed structure that, whether intentional or accidental, takes advantage of all of the simultaneous bloating and lack of flesh-out to jar between tonal extremes almost as badly as it jars between stages in the plot whose inconsistency gets to be so considerable it's all but unreal.
The film is all over the place at times with its layering its disjointed narrative, yet no matter how much the film gets to be overblown to the point of convolution, Gus Van Sant can't quite overshadow natural shortcomings to this near-inconsequential story concept, and it doesn't help that when he doesn't bloat substance, he expends it for style.
I've alluded to it time and again, but when you come down to it, the biggest problem with this film is overstylization, which plays a large part in the narrative disjointing, but doesn't end there, prominently playing with strange imagery, frantic structuring and other classic forms of artistic bloating that leave the final product to feel more ambitious with its style rather than its substance.
Now, such inspiration to style endears in a lot of ways, and it helps that substance is still pretty well-handled, but considering how enjoyable this drama is even with its placement of style over substance, one can only imagine what is being lost in the wake of underdevelopment, dragging, unevenness and overstylization as the film tumbles just short of genuinely rewarding.
Still, like I said, the effort comes closer to rewarding than it would have in the hands of a lesser filmmaker, and if it had less solid style to overplay.
There's not much to the musical style of this film, but it's well worth waiting for when it does come into play, uniquely substituting original score work with many a decent, entertaining tune that livens up the flavor of this stylistically lively film, like cinematography by John Campbell and Eric Alan Edwards that, while often flat lighting and coloration, is well-toned and framed enough to help draw your eyes toward nifty visuals.
It helps that Sara Burton knows how to manage locations, distinguishing each setting in this film in a way that doesn't simply immerse you into handsome environments, but gives you a sense of dynamicity that, of course, defines the sense of adventure that drives this drama's narrative.
I guess that the story concept stands to have a little more depth to its dramatics, as surely as its interpretation stands to be more focused and less stylistically overblown, but on paper, this film's subject matter dealing with two men bonding, maybe as more than friends, on their adventure to uncover their pasts and find paths to the future does a lot of things uniquely, and has its own dramatic value to both be done justice and betrayed by Gus Van Sant.
Van Sant's script is something of a mess with its overstylized structuring which thins down exposition and bloats filler to the point of serious focal unevenness, but its wit gets it by a long way on the back of sharp, sometimes pseudo-Shakespearean dialogue, and certain genuinely thoughtful moments in characterization and dramatic set piece crafting, sold by direction that is just as effectively thoughtful.
Van Sant's style, while often overwrought, is just as often thoroughly lively, and when all of it settles for the sake of dramatic tenderness, Van Sant is tasteful enough to bite with subtlety and grace to thematic and human depths, anchored by strong performances.
Plenty of supporting players, such as the charismatic William Richert or the affecting Chiara Caselli, have their time in the spotlight, but that's mostly reserved for leads Keanu Reeves and River Phoenix, who both share dynamite chemistry and flaunt just as electric individual charisma, with Phoenix particularly standing out with some powerful emotional highlights that drive a sense of anxiety in someone struggling with his identity as an unconventional lover, and as a young man seeking the truth about his past.
Phoenix's powerful performance, the last one that he would deliver in his tragically brief lifetime, carries the film when really allowed to flesh out, and I wish that more of the film was nearly as inspired, but, with that said, there's enough inspiration to style and substance for the final product to at least border on rewarding, even though it could have gone so much further.
Overall, the film is either seriously underdeveloped or seriously overblown, to the point of providing both unevenness in focus and pacing, as well as tone, and a feel for certain natural shortcomings that are brought more to life by much too much overstylization, which hold the final product shy of a rewarding state that is still all but achieved, thanks to the solid soundtrack, handsome cinematography, immersive taste in location, and worthy subject matter that is driven by highlights in Gus Van Sant's scripting and direction, and by many a strong performance, - the strongest of which being courtesy of the charming Keanu Reeves and the outstanding River Phoenix - that make "My Own Private Idaho" an entertaining, often biting and all around borderline, if only borderline rewarding human drama.
Cameron J Super Reviewer. Jul 16, A strange but somehow affecting modernization of William Shakespeare's Henry IV, My Own Private Idaho is driven by an incredible performance from River Phoenix and a sort of fleeting beauty in the story and cinematography.
It follows two hustlers named Mike and Scott River Phoenix and Keanu Reeves as they leave Portland in search of Mike's mother. Scott is the son of the mayor of Portland and is simply hustling to make his father angry, but he's about receive his inheritance.
Mike meanwhile never had an easy life, and he hustles out of necessity not choice. He never had "real" parents who were there for him, and his only father figure is Bob, the man who acts as a leader to the group of hustlers working in Portland.
As Mike and Scott venture on their road trip, Mike reveals his unrequited attraction to Scott and their friendship grows even more complicated.
The movie plays out in an almost dream-like way that's hard to describe. There's moments of humor and sadness in equal measure, but it always feels very personal and interesting.
Although Keanu Reeves is better than usual as Scott, it's the late River Phoenix who is absolutely mesmerizing in his role as Mike.
He gives the movie its emotional edge, and there's just something very haunting about the performance he gives.
The dialogue is a modernization of the original Shakespearean dialogue, which feels a little unnatural at times but it works well enough and it's been changed enough so that it's at least easy to understand.
My Own Private Idaho is far from a normal drama, but if you can appreciate its quirks and occasional eccentricities it is actually one of Gus Van Sant's better albeit less typical movies.
Joey S Super Reviewer. From Wikipedia, the free encyclopedia. For the movie, see My Own Private Idaho. Record World. August 30, Retrieved May 19, Record Research.
Hung Medien. Retrieved 1 May He began to dress and groom himself like a grungy street kid, to the point where he was turned away from a nightclub because the bouncer thought he was a bum.
William Richert was a writer and director who'd made A Night in the Life of Jimmy Reardon , in which Phoenix played the title character.
For some reason, Phoenix became fixated on the idea of Richert playing Bob Pigeon in My Own Private Idaho , even though Richert was not an actor.
Richert was offended by the suggestion, telling Phoenix , "It's a big fat pederast. Is this what you think of me?
Is this what you think I should be playing? Phoenix kept trying to convince him, going so far as to bring Van Sant to Richert's house for a reading of the screenplay.
Still he resisted. Finally, Phoenix called Richert from the set in Portland and said the actor who'd been hired to play Bob Pigeon had been let go.
They had to shoot his scenes tomorrow. Could Richert fly up and take the part? Worn down, Richert finally relented.
Conversely, USA Today gave My Own Private Idaho two and half stars out of four, calling it "nothing but set pieces; tossed into a mix whose meaning is almost certainly private".
But this is a desperate imposition on an essentially inert film. The site's critical consensus reads: "A tantalizing glimpse of a talented director and his stars all at the top of their respective games, Gus Van Sant's loose reworking of Henry IV is smart, sad and audacious.
The film was originally released on VHS and LaserDisc in In , the film was remastered by The Criterion Collection and released on a two-disc DVD set.
This DVD set is accompanied by an illustrated page-booklet featuring previously published articles and interviews with cast and crew and new essays by JT LeRoy and Amy Taubin , a article by Lance Loud and reprinted interviews with Van Sant, River Phoenix and Keanu Reeves.
In The Criterion Collection released the film in Blu-ray, based on a restored 4K digital transfer. My Own Private Idaho received the Showtime International Critics Award at the Toronto Film Festival.
Venice is the most progressive festival. Anything else would be a token". Winning 3, it tied with Rambling Rose for the most awards. From Wikipedia, the free encyclopedia.
For the song, see Private Idaho. Theatrical release poster. Release date. Running time. River Phoenix as Michael "Mike" Waters Keanu Reeves as Scott Favor James Russo as Richard Waters William Richert as Bob Pigeon Chiara Caselli as Carmela Udo Kier as Hans Rodney Harvey as Gary Michael Parker as Digger Jessie Thomas as Denise Grace Zabriskie as Alena Flea as Budd Tom Troupe as Mayor Jack Favor Vana O'Brien as Sharon Waters, Mike's mother Jim Caviezel as Airline Clerk Wade Evans as Wade.
River Phoenix and Keanu Reeves were excited to star in the film together but were fearful of the other not committing, so they shook hands on the deal.
Klein" Bill Stafford — " Home on the Range " Bill Stafford — " America the Beautiful " Jean Poulot and Jamie Haggerty — "Bachu Ber" Aleka's Attic — "Too Many Colors" Bruce Van Buskirk — "Ovoniam Ipse" Bruce Van Buskirk — "Nun Freut Euch" Madonna — " Cherish " Elton John — " Blue Eyes " Udo Kier and Tom Dokoupil — "Der Adler" Elliot Sweetland, Richard Letcher and Vernon Dunn — " When the Saints Go Marching In " Lori Presthus, Hollis Taylor and Kim Burton — "The Funerals" Conrad "Bud" Montgomery — "Getting Into the Outside" The Pogues — "The Old Main Drag".
Box Office Mojo. Retrieved 2 February Times Higher Education. Retrieved April 4, Austin September 29, The Ringer. Even Cowgirls Get the Blues and My Own Private Idaho.
The Advocate. Ballatine Books. Off-Hollywood Report. Film Quarterly. Retrieved 4 April Retrieved AFI Catalog of Feature Films.