Highly Overrated But Still Good

Absolutely brilliant

Good films always raise compelling questions, whether the format is fiction or documentary fact.

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

Life in the dangerous urban cesspool of Rain City: Tough and crusty ex-cop Hawk (an excellent and engaging performance by Kris Kristofferson) gets out of jail after serving time for murder, eager young father Coop (a fine portrayal by Keith Carradine, who sports a wild punk hairdo) neglects his sweet innocent wife Georgia (luminously played with considerable doe-eyed charm by the gorgeous Lori Singer) and falls in with a bad crowd, and ruthless mobster Hilly Blue (deliciously essayed with slimy gusto by Divine, who comes across like an effeminate Sydney Greenstreet) runs the local crime syndicate. Writer/director Alan Rudolph expertly crafts a beautifully bizarre, garish, and stylized reto 40's film noir alternate universe that's punctuated with witty dialogue, populated by colorful oddball characters, and further enlivened by nice moments of inspired quirky humor. Moreover, Rudolph offers a truly singular cinematic meditation on morals, corruption, thwarted desires, and possible redemption. The tip-top cast helps a whole lot, with especially praiseworthy work from Genevieve Bujold as wise and weary diner owner Wanda, Joe Morton as philosophical hoodlum Solo, George Kirby as the hard-nosed Lieutenant Gunther, John Considine as sleazy creep pedophile Nate Nathanson, and Dirk Blocker as brutish thug Rambo. Mark Isham's jazzy score and a couple of songs sung by Marianne Faithful greatly enhance the eccentric brooding atmosphere. Toyomichi Kurita's striking cinematography gives the picture a great gaudy'n'smoky look. Hovering precariously between affectionate homage and campy send-up, this exquisitely idiosyncratic treat qualifies as recommended viewing for fans of outré celluloid fare that doesn't fit into a simple easy category.

Very fine moody film, made after, 'Choose Me' and good as that is I have always preferred this. In many ways (until the end) a fairly quite film with people drifting in and out of each others lives. Laid back they may be but there are great performances from Keith Carradine, Genevieve Bujold, Kris Kristofferson and even the lovely Lori Singer, who has probably never bettered this performance. Despite the strange neo noirish look of the rain drenched, neon light streets and signs of decay there are also hints at some future setting and the ambiguity coupled with Kristoffersen's model making constantly create a dreamlike quality to proceedings. The soundtrack is immaculate and the use of the crackling elder Marianne Faithful inspired. Divine is brilliant as the chief baddie and should the uncultured out there drop off for lack of constant action be assured you will awake at the end.

The forecast is overcast. Director Alan Rudolph sets the tone early on and TROUBLE IN MIND never once strikes a sour note. The cinematography is superb: the camera never stops moving, drifting slowly toward or pulling slowly away from the ex-con, Kristofferson, the country bumpkin-cum-Big City thug, Carradine, his mentor, Morton, the naive engenue, Singer, the survivor, Bujold, or the king of queens, Divine. The story unfolds gradually, logically. The music is appropriately moody. THIS is the way to tell a story. Anyone seriously interested in writing or directing needs to add this one to their list of must-see movies. To miss it would be to miss out.

I have a strong feeling that writer/director Alan Rudolf really enjoyed BLADERUNNER, and longed to create a BLADERUNNERish film of his own. As such, TROUBLE IN MIND has much in common with the former film - a dark, sad view of the future, a Vangelis-like instrumental score. Unfortunately, where it departs from BLADERUNNER most noticeably is in the area of and talent and budget. Bujold, Kristofferson and Singer are about as exciting as bran flakes. Carradine's hair is rather dull to begin with, but develops unusual colour and a neat curl towards the end of the film (which comes none to soon). Divine offers the only performance of note, but it is far too brief. Obviously this film experienced a great deal tightness in the budget department. The future appears to be Seattle on an overcast day, with a handful of classic cars and one army jeep cruising the streets. A vague vision of the future, coupled with an aimless script, makes TROUBLE IN MIND a not so great movie to see. A better bet would be to rent the directors cut of BLADERUNNER.