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Here in the Tribeca studio, 45-year-old Solondz poses amiably, smiling between takes and chatting in his precisely enunciated nasal drawl. When facing the camera, however, he stares mirthlessly through oversize green-rimmed glasses. He claims to dislike his winsome smile, but one also imagines that a grin would give his critics more ammo for their fave charge, that he creates his unfortunate characters simply to mock them.
To a pageant of sad antiheroes, which now includes several pedophiles, a pornographic crank yanker, a murderous maid, and iconic seventh-grade zero Dawn Wiener, Solondz now adds Dawn's laconic cousin Aviva, a 13-year-old obsessed with having a baby. Aviva, played throughout the picaresque Palindromes by eight different actors of various ages, genders, and body types, does manage to get pregnant. But after her mother (Ellen Barkin) insists on an abortion, Aviva runs off with a trucker who subsequently ditches her. After a Night of the Hunter river drift, our little Huck Finn winds up in a loving Christian homewhere the Sunshine Singers, kids with various disabilities, perform right-to-life pop while their doting caregivers plot to murder abortion providers.
Solondz the writer is arguably a master of saccharine suburban cadence, the acid adolescent slur, the codes of conformist cruelty. In 1998's Happiness, pedophile father Dylan Baker addresses his son with outrageous candor, but in measured tones, as though a solemn meter makes anything appropriate. Of this icky paternal confession, however, Solondz adds, "It's morally questionable what that character does. But I understand it. And I feel for the suffering of that moment." That's the director's usual cant. Some theorize that he must write his scathing screenplays in a bitter trance, then conjure this analytic empathy out of later remorse. "They call me loathsome, cynical, misanthropic," acknowledges Solondz. He says that some have seen his choice to open Palindromes with Dawn Wiener's funeral as an example of this. But, he protests, "It wasn't that I took vindictive delight or some sort of vindictive sadism. I wanted her to go on. I begged that actor as I have begged no other actor. But she [Heather Matarazzo] refused to play that role again." He adds, "People say, 'You know you've succeeded when people hate your work. But I . . . I . . . I prefer that they don't. It gives me no pleasure. People say, 'Why do you make movies about such ugly characters?' and I say I don't see them that way."
There's no denying the ugliness of his scenarios, however. And even supporters of his flaying of America's innocence fetish must still wonder why Solondz casts so many kids as sexual victims. "I've done my research, and it is complicated," he says. "Look, I knew that no studiono one connected with a studiowould be able to distribute this film, because it's not worth the flack they'll get from some quarters. And it's not just the conservative Christians."
He's ready just in case, referencing kindred spirits from the mid '90s, Harmful to Minors author Judith Levine and Jennifer Montgomery, director of 1995's Art for Teachers of Children. In terms of sexual mores, he contrasts the U.S. with Tokyo: "We live in a culture of hysteria. It's another world entirely there, where middle-class girls are commonly paid escorts. And while this may not exactly be something everyone is saying is a wonderful thing, it's certainly not something where people shudder in revulsion."
When working with child actors, Solondz says he doesn't feel it's his place to explain sexual nuances, but asserts, "If I had a kid that was clamoring to act, I would much prefer him act in one of my movies, which I feel do accord a certain dignityrather than involve them in shilling for the Gap or detergent, where they're just being used to sell a consumer good. That to me is an obscenity."
Of Palindromes' pedophile trucker, Solondz says, "I have no sympathy for someone raping children. But that's Aviva's innocence. There she is with this trucker [playwright Stephen Adly Guirgis]. That's the comedy and horror. For me that's what it's about, impulses that force one to say, 'What am I responding to?' If I'm laughing, 'What am I laughing at?' "
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