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Following the rejection of “Follow Me Home” by every major distributor in the United States, a new distribution strategy was devised: the film would be booked one theater at a time, across the country, with a discussion scheduled after almost every screening. This has been the method by which this difficult and challenging film has found audiences for the past year, and it is now playing at the Chatham 14 multiplex in this city. There will be a lot to talk about afterward.
It is a documentary about four graffiti muralists who pack their belongings into a van and drive cross-country from Los Angeles to Washington, with the goal of covering the White House in their work. This is perhaps not as far-fetched as it appears in an age when Christo wraps up buildings, although I suspect they will have difficulty obtaining an NEA grant from Congress, as I mentioned earlier.
An African-American, an American Indian, and two Chicanos are among the artists; however, the majority of the people they encounter on their journey are white weirdos. One is reminded of the ominous rednecks that the hippie motorcycle riders encountered in the film “Easy Rider.” One of the painters is transformed into a boiling cauldron of prejudice, and the film throws you off balance by including one decent white guy and one redeemable white guy, as well as one of the painters being transformed into a fulminating cauldron of prejudice. The film’s conclusion reveals that it is not making a neat and tidy statement about anything, but rather is challenging the audience to make up its own mind: to examine racial attitudes and determine where they come from, as well as what lies beneath them.
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Peter Bratt, the writer-director, could almost have used “Easy Rider” as a model for his film—both for the parts that work and for the parts that don’t. Some of his dialogue scenes are overly long and disorganized, but then everything comes together in a scene that has real emotional impact on the audience.
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Take, for example, a scene in a diner where a waitress feels she has been treated unfairly by one of the men working there (she is right). The proprietor emerges from the building, places a shotgun on the table, and delivers a speech about their right to free expression and his right to keep and bear arms. What exactly is the point of this scene? Is your neighbor a racist gun owner? It’s not always the case or entirely true. The four men in the booth each have a unique perspective on the situation, and the scene is about different types of intimidation styles.
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Along the way, the men come across white people dressed in a variety of costumes. It turns out that there is a white guy who dresses like an Indian, and they steal his antique tomahawk from him. Later on, they come across three white men dressed in uniform for a re-enactment of the United States Cavalry. Is it possible that the soldiers have become so enraged that they mistake the men of color for savage redskins? However, since the scene progresses into magic realism and thus beyond the realm of belief, it isn’t important whether or not you believe what happens. An epic battle between two myths takes place in this film: the white myth of taming the West, and the black/Indian myth of the power of the soul.
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Alfre Woodard portrays an African-American woman who is a pivotal character in the film, who is first encountered midway through. She accepts a ride from the guys and becomes enraged when one of them can come up with no other words to describe a woman other than “whore” and “bitch.” Women’s empowerment ultimately saves them all, as evidenced by her powerful speech (“Look at me! I am a woman! “).
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There are four distinct personal styles represented by the four painters. Calvin Levels, the black guy, is an intellectual, a vegetarian, and a pacifist who uses terms such as “patriarchal theocracy” to describe his worldview. Steve Reevis, the Indian guy in the film, is a recovering alcoholic (a little stereotyping there, perhaps?). Tudee (Jesse Borrego), the expedition’s leader, is a visionary idealist whose vision brought them all together in the first place. His cousin Abel (Benjamin Bratt) is enraged at everyone, but especially at the women in his family. Are they a cross section of something? No, it’s just a collection of things.
When I was watching the film, I was irritated by the broad caricatures of white people. Afterwards, I thought about how broad caricatures of black people had been a feature of movies for decades and decades; it’s just their good fortune that by the time a new generation of black filmmakers comes along, stereotyping has gone out of style. Bratt, on the other hand, is not a racist in my opinion: he is an instigator. He’s projecting highly charged material onto a screen and then standing back to see what occurs. The majority of films are too afraid to deal with such controversies.
“Follow Me Home” is being shown in the most appropriate manner. It is necessary to have that discussion afterwards. It does not come in a convenient package that you can wrap and take home with you. It’s a completely open-ended question. It demonstrates how films can be used to cut, probe, and wound. It has the potential to instill a sense of fair play in the audience. In addition, through its fantasy and symbolism, it evokes a level of mystery that is beyond explanation. The majority of movies are finished when they are finished. This is only the beginning of the story.
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