As usual with Sayles, there's a hard knot of a good story here. The film is named for the town's Honeydripper Lounge, a ramshackle affair that serves up a good fried chicken affair but whose old blues singer can't compete with the jukebox R&B getting blasted by the competition down the street. Danny Glover plays the owner, Pine Top Purvis, a piano player with a violent past who's in debt to everyone in town and about out of chances. His last one is a New Orleans hot shot named Guitar Sam who's got a radio hit and is booked to play the Honeydripper on Saturday; only problem is, when the train shows up, Guitar Sam is nowhere to be found, even though Purvis has plastered the town with ads. The whole thing is a scramble, with Purvis frantically (well, not frantically, maybe busily; it is the old South, after all, and things take time) working every last hustle he can to stay ahead of the creditors and the corrupt sheriff (Stacy Keach, playing it more for laid-back humor than menace) who will shut him down if he can't find somebody who looks and plays like Guitar Sam to show up on Saturday. Maybe that handsome fella who just hopped off the train and is chatting up Purvis' daughter could do the trick...
Continue reading: Honeydripper Review
These are words that could be used to describe the emotions of John Sayles' characters in his latest, Limbo. But no, I use them to describe myself after sitting through his latest little exercise in indie egomania.
Continue reading: Limbo (1999) Review
John Sayles, darling of the indie film movement, has created this picture, an epic study of racial tension in mythical Frontera, Texas, a border town in the Rio Grande Valley. (The film was actually shot in Eagle Pass, quite a ways upriver from the Valley.) Set against the backdrop of a son investigating his father's involvement in the murder of a sheriff some 40 years earlier, Sayles wanders, Short Cuts-like, through the lives of 15 or so major characters.
Continue reading: Lone Star Review
The brilliance of Sayles's stories is that he places these people within a much bigger parallel -- a geographical or cultural landscape that's changing as much as its inhabitants are. In City of Hope, it was an unnamed New Jersey city with political problems. In Lone Star -- in my opinion, Sayles's true masterpiece -- it was an evolving Texas border town. In Sunshine State, it's the fictional town of Delrona Beach, a sleepy Florida locale whose land and people are in the process of being overrun by shrewd real estate developers.
Continue reading: Sunshine State Review