By Calum Marsh
By Michelle Orange
By Michael Atkinson
By Simon Abrams
By Zachary Wigon
By Aaron Hillis
By Casey Burchby
By Stephanie Zacharek
Mournful time-travel fantasy and heady nostalgia trip, Donnie Darkomay be the first movie to fully simulate the carnivalesque horror of growing up in the 1980sa decade it represents as an unsolvable Rubik's cube of Reaganite spectacle, Spielbergian might, free-enterprise bulimia, nuclear-winter paranoia, New Age narcissism, and New Romantic poses. Writer-director Richard Kelly, a 26-year-old first-timer, etches this landscape with the morbid precision and rueful humor of a battle-scarred veteran. "I've been mocked many times for waxing nostalgic about the late '80s," says Kelly. "I have very fond memories but I recognize how screwed up things were. We've seen stories of suburban dysfunction beforethe idea was to do it this time as science fiction, and setting it in 1988, with the presidential election looming, I thought would evoke the grand finale of the dysfunction of the '80s."
The film's brooding eponymous protagonist (whom Kelly has described as Holden Caulfield as resurrected by Philip K. Dick) was given a superhero-worthy moniker because "I wanted to communicate the idea that this is a fantasy, a fable, right up front. But it's an intense onea comic-book archetype of a kid who loses it." Kelly, who grew up in an affluent Virginia suburb much like the one depicted in Donnie Darko, says the film is "in no way purely autobiographicalI had a very normal, quiet upbringing," but adds: "I think it's important to explore why a privileged young kid can come to feel that the world should be torn apart."
Donnie Darkotakes place in the month leading up to the Bush-Dukakis contest, a time Kelly remembers vividly. "I was in eighth grade and the student body voted in a mock election. It was a really conservative community, 90 percent Republican." He hastens to add that he doesn't define his politics "as being one way or the other," and when pressed, confesses: "I'm really embarrassed to say, I didn't vote in the mock election and I have yet to vote in a real election."
If '80s politics hover vaguely and uneasily over Donnie Darko, the era's popular culture is proudly foregrounded. Kelly recites the holy trinity that crystallized his love for movies: "E.T., Back to the Future, Aliens. Spielberg, Zemeckis, Cameron: They were the ones who made me want to sneak out of the house and into R-rated films. I remember going to see Platoonnot even being aware of what the Vietnam War was." Kelly discovered world cinema later, while attending USC film school, but he was an auteurist from an early age. "I remember seeing the video for 'Janie's Got a Gun,' calling up MTV and asking who directed it, and finding out that it was David Fincher. And I was like, that guy's gonna be huge."
One of the only '80s period pieces to resist a comedy-of-embarrassment soundtrack, Donnie Darko seems to have been scored to a dusty, cherished mix tape. The movie opens with the melancholic swoon of Echo and the Bunnymen's "The Killing Moon" and closes with a misty cover of Tears for Fears' "Mad World" (and its aptly grandiose, positively Freudian refrain, "The dreams in which I'm dying are the best I've ever had"). "I actually cut out some of the kitschier songs," says Kelly (who, for better or worse, found room for Duran Duran's "Notorious"). "We wanted to pay respect to the music of the '80s and treat it lovingly."
Kelly says the major influence on Donnie Darkowas a similarly despairing time-travel odyssey, 12 Monkeys, Terry Gilliam's stricken extrapolation of Chris Marker's cine-poem La Jetée. "I love both films, but 12 Monkeysfloored methe sense of fate and inevitability, the relativity of time and memory." A book called The Philosophy of Time Travelsurfaces in Donnie Darko, and Kelly has actually written about 10 chapters' worth "explaining the entire movie" and posted them on the film's official (and conspicuously hard-to-navigate) Web site.
This self-described "total sci-fi geek" even uses metaphysics to clarify Donnie's condition, diagnosed in the film as borderline schizophrenia. "There's a break in the space-time continuum, and a kid was exposed to cosmic forces that are clearly going to screw with his head. I don't look at this as a pure representation of mental illness." Which doesn't make the film's depiction of teen sorrow any less bleak or serious. "We weren't going to back down from presenting the pain that I know to be true for a lot of people," says Kelly, who stresses he's not necessarily speaking from firsthand experience ("never in therapy, never on medication"). "And that's when a lot of that overprescription startedpeople being diagnosed with disorders when there was probably nothing there, just confusion."
Donnie Darkoreserves most of its contempt for quick-fix New Age babble, and its insidious flipsides of self-love and self-blame; its nominal villain is an unctuous motivational speaker, whose biggest fan is Donnie's gym teacher. "The only truly autobiographical part is the fight Donnie has with his teacher, when she's talking about the fear and love lifeline," says Kelly. "That actually happened, but I never mouthed off the way Donnie did. I guess you can always rewrite history. Not that I'm saying that's how anyone should talk to their teachers." Kelly's reading of the film, in fact, is anything but nihilist. "It's a cautionary tale of what can happen when you rebel against the systemdo it responsibly or you will pay the price."
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