Sex in the cinema is always so clean. Even when it’s given a patina of perversion, it’s still played mostly for mild mainstream enjoyment. No film wants to show the truth about interpersonal pyrotechnics, especially in a wholly realistic and authentic manner. Even XXX pornography cleans up the copulation with actors and actresses who fuel the fantasy of, not the facts about, f*cking. But not Giuseppe Andrews. As the king of uber-contemporary cinema, the man who has made the trailer park the last bastion for true motion picture art, screwing around needs to be dirty, disquieting, uncomfortable, and most of all, hilarious. As part of his Bathrobe Homeschool Box Set, The Date Movie delivers on such soiled, sullied dispositions. It proves that physical contact between human beings is not always pretty. In fact, most of the time, it’s downright disgusting.
Two wannabe ‘gansta’ white boys share a trailer - and a case of squirrel-influenced stomach flu. An old man channels the spirit of a horse known as Mr. Ted and writes a hate-filled tome in the steed’s name. Two meth dealers discover a rat in their lab and one adopts it as his very own pet. A young man must face the fact that his mother is a whore and his father is her pimp. A middle aged man must face the fact that his mother is dying of emphysema and losing her marbles. And what do they all have in common, aside from an addictive need to drink the latest alcohol-laced specialty beverage, Pussy Juice? Why, it’s the unending craving for sex and/or sexual fulfillment - and sometimes, not in the way “normal” people view such biological and physiological desires.
Here it is - the Giuseppe Andrews we’ve all grown to love, the Giuseppe Andrews with a pixie like spring in his cinematic step and a thesaurus of lickety lewd crude talk. This ADD inspired journey into the heart of human darkness, a Eisenstein edited romp across shit, piss, and any other bodily fluid you can think of has little or no narrative logic. As he does with his frequently feverish dream, Andrews sets up a group of compelling creeps and lets us watch as they interact, interject, and interfere with each others battered lives. Every once in a while, the implied action will stop so that someone can go off on a several page rant, complete with risqué commandments and horndog demands. Andrews is best known for these dirty word dialectics, juvenile jousts at reproductive served up as satiric stand-up riffs. That they always work is a testament to his talent both behind the camera and in front of the typewriter.
The main theme here is one of longing and desire. Indeed, what The Date Movie seems to be saying about people is that when they aren’t having sex (and there is little actual aardvarking presented here), they’re thinking about it. They’re obsessed with it, allowing its pleasures and pains to influence their entire life. If you look closely, you can see it in the hip hop hokum of the wannabes, trading barbs with ventriloquist dummies as substitutes for actual conversation. You can definitely see it in the meth heads, a lifetime of cooking and snorting drugs leading them to channel their needs elsewhere. And as usual, a very brave (and very naked) Tyree takes us through the daily ritual of a lonely lunatic who doesn’t mind pleasuring himself to anything (and EVERYTHING) he has around the house.
But Andrews also goes for the throat, showing how sex can ruin relationships and compromise trust. One of the first scenes shows a wannabe arguing with a one night stand over their child producing consummation. Later, a son argues frantically with his father over his mother’s profession. In a classic bit of toilet humor burlesque, Walt Dongo plays a husband who can’t get his wife in the sack. Of course, his nonstop flatulence doesn’t help matters much. And then there are moments of sheer heartbreak, as when Tyree picks up a photo of himself from World War II (an actual image, by the way) and the camera stares endlessly at the young face, fresh and ready to take on the world. The Date Movie is indeed centered on sex, but there are also keen insights into aging, mental wellness, and death to be discovered.
Of course, there are also controversial elements that might make the uninitiated cringe. Andrews loves to provoke, and nothing will get the dander up of pro-PC complainers quicker than his use of the N-word. While never aimed at a minority, there are plenty of times in Date Movie when the epithet is spoken - in jest, in anger, for random reactionary shock value. Similarly, full frontal nudity is present and accounted for, and Tyree is the beneficiary of Andrews imposing lens. Watching a naked octogenarian slap his inert “member” with a sticky toy will not be everyone’s cup of cinematic tea, and even for a seasoned Andrews aficionado, the fetish can be much. But this is moviemaking as reality, authentic glimpses of life along the fringes. If you can’t stand the vile visual heat, then perhaps you should get out of this auteur’s soul kitchen ASAP.
This doesn’t infer, however, that everything in Date Movie is magic. Sometimes, Andrews indulges his muse to the point where it pukes up on everything he is trying to accomplish, and as with many of his more surreal outings, a certain scatological wavelength must be maintained less you find yourself feeling filthy - and completely lost - afterward. But if you peer in between the sleazy seams, if you read between the ludicrous lines of halting human misery, you will discover a film of breathtaking insight and wit. As a roadmap to where he would eventually take his incredible talent, The Date Movie is a Hellsapoppin’ journey along life’s many perverted pathways and over its many diseased potholes. Take it for what it’s worth, and you probably will be offended. Look closer and you might just see the sickening truth staring right back at you. Sex is not all rose petals and orgasms. It’s a horrific human endeavor, and only Giuseppe Andrews has the courage to call it out and complain.