July 30, 2014 | by Dan Piepenbring
Everyone’s talking about Richard Linklater’s Boyhood at the moment—as well they should; it’s a remarkable film—but in honor of the director’s birthday, you should revisit his first feature, Slacker, which is freely available on YouTube.
The Criterion Collection’s site has a few insightful essays on Slacker, too. There’s “Freedom’s Just Another Word for Nothing Left to Do,” by Chris Walters, which was written in and about 1990, but feels right at home in 2014:
The all-but-total decay of public life has atomized others into subcultures of which they are the only member, free radicals randomly seeking an absent center as the clock beats out its senseless song.
The movie buries its treasure here, in the crevasses of its drollery and craziness. Nothing in the current climate is more permissible than mocking or reducing such people; Slacker celebrates their futility as a sign of endurance and mourns the passing of time by marking it with emblems of affection and empathy, the only prizes worth having.
Or Ron Rosenbaum’s “Slacker’s Oblique Strategy,” originally published in the New York Observer, which makes a seemingly outlandish but ultimately shrewd claim:
Slacker is at heart a very Russian film. Not just in its obvious kinship to Oblomov, Ivan Goncharov’s great nineteenth-century Russian novel, the classic celebration of the luxuriant pleasures of lethargy and the sensual delights of the contemplative life. There’s another Russian link, to Turgenev and his novels of the “superfluous man.” (And, to make a cross-cultural comparison, there’s a link as well to the seventeenth-century British pastoral “poetry of retirement” tradition, whose varieties are best limned in a volume with the lovely title The Garlands of Repose by the scholar Michael O’Loughlin.)
But on a deeper level, the true Russian kinship is less with Goncharov or Turgenev than with Dostoyevsky, to a novel like The Brothers Karamazov: the kind of novel that is unashamed in its preoccupation, its obsession, with ultimate philosophical and metaphysical questions.
And remember, in closing, the wise slogan proffered by one of Slacker’s many hitchhikers: “Every single commodity you produce is a piece of your own death!”