The film that could change the way we watch movies.
Martha: Debbie Doebereiner
Kyle: Dustin James Ashley
Rose: Misty Dawn Wilkins
Jake: K. Smith
Inspector: Decker Moody
Kyle's mother: Laurie Lee
Martha's dad: Omar Cowan
Directed by Steven Soderbergh
Release Date: January 27, 2006
Running Time: 73 minutes
Rated R for some strong language.
Imagine for one moment, a time period in which the public cannot travel to the theater to experience a film on the big screen. It is hard to fathom, but Steven Soderbergh's newest project Bubble could be the beginning of a change. Realistically, nothing drastic will transpire right away, but anything could gradually catch on. Bubble is being released on HDNet cable, DVD, and in the movie theaters simultaneously, and the effect of this new controversy depends on how the people decide they would rather watch it. At a rapid 73 minutes in length, the film flies by, but it is hauntingly absorbing with depth and intricacy as it exposes the despair and comfort of life in a small town.
The film starts with Martha (Debbie Doebereiner), who spends most of her time caring for her father. On her way to work, she picks up fellow employee Kyle (Dustin James Ashley), who is significantly younger than she. Their tiny houses reflect the jobs they travel to everyday, but there are towns such as this all over the United States. Martha and Kyle work at a doll factory with separate tasks between the two of them. The two have no visible future, and are friends primarily because they have worked together in this town. Their dynamic coasts from day to day rather effortlessly until a new employee named Rose (Misty Dawn Wilkins) starts at the factory. Obviously this summary won't cause you to sprint towards the theater or video store, but the controversy should fill in any existing enticement. I will stop here because anything else that is divulged will spoil the wonder that Bubble provides.
In a ideal strategic maneuver, the cast is comprised of nonprofessionals, who were given the opportunity of a lifetime by starring in a feature film of an acclaimed director. The performances are unsullied, inventive, and organic as a whole. Debbie Doebereiner portrays Martha, who is heavy set and relaxed around Kyle as they continue with their lives that are leading nowhere. If any of these performers sparkled above the rest, it would be Misty Dawn Wilkins, who has many distinctive Ashley Judd qualities. As a mother, this job at the factory is a necessity, but her exotic and forthright demeanor generates a stir with mixed emotion among certain employees. Kyle's shy and timid behavior is a mirror of his real life as Dustin James Ashley. His commonplace routine in reality consists of working at a pizza restaurant. In addition, it is unforeseen to learn that Debbie works at KFC, while Misty is a common hair stylist. For these three it was easy to perfect the roles of Martha, Kyle, and Rose, mainly because these characters already resided somewhere inside of them. Their depictions were molded and assisted by Steven Soderbergh, who probably established a close relationship with the actors, and that can be seen by the fact that the performers helped craft the dialogue themselves. The augmented number of films that are drowned in authenticity to everyday life makes one look differently at the deceptive and imitation acting that lies in most films.
This intoxicating experiment does indeed travel quickly, but with a magnificence that insists on broadening the mind by not prolonging the substance. Director Steven Soderbergh has instilled a enigmatic respect for the characters so that viewers connect with them instead of dissecting or judging. Soderbergh possesses a wonderfully unique and erratic resume with mainstream achievements like Traffic and Ocean's Eleven, and he can frequently construct films that are breaths of fresh air. Bubble will prevail as that idiosyncrasy of Soderbergh that makes a significant mark, unlike his previous irregularities, Schizopolis and Full Frontal. His camera work is down to earth and gutsy that parallels the entire film process, with a mesmerizing dark and desolate picture quality. The silent shots of various places like the factory or the homes succeed just as beautifully as they did in Junebug.
For basically the first time ever, viewers will have the chance to decide how they prefer to watch a movie. The film has earned around $5 million dollars already, when it cost $1.6 million to produce. Since most people will be well aware that is available on DVD and cable, they will not bother going to the theater, hence some theater owners are refusing to play the film. The film has made a tad over $70,000 at the box office. This excursion by the owner of Magnolia pictures, Mark Cuban, and Steve Soderbergh is not only an experiment, but a means to let somebody display a small film to a wide audience. For me, I am torn between the theater and DVD. I love the theater and will consider it a great tragedy if I cannot experience the sounds and sights on the big screen someday. The previews and buying tickets are part of the full package you receive when going to a movie. However, I spend a lot of money on DVDs, so why should I spend $10 to see the movie once, when for a few more dollars I take a chance and own it forever. Calling this is a complicated situation is an understatement. It is understandable that they want the maximum amount of people to see the film, but not at the expense of putting theaters out of business.
Steven Soderbergh stated that the last time he saw a film in the theater he did not see the whole thing because of a problem with the projection. He discussed that movie theaters have a lot of issues they need to address, such as high admission and snack prices, and so on. All of us have experienced problems at some point, but these risks subsist at all theaters. There is also the risk of buying a defective DVD, or having poor picture quality with cable. The point is, anything can happen. Yes, the prices of admission tickets are high and sometimes the film doesn't work, but I for one will make that sacrifice every time, if it means that I will always have the opportunity to experience a great film in the theater.
Bubble concludes as a completely staggering and symbolic film with unforgettable images that persist after the initial viewing. The length, the ending, the casting, and everything in between all seem too bizarre to attract casual audiences, but this film demands strict attention and contemplation as it captivates. The unconventional use of the actors real houses and clothing was just one the many brilliant and aggressive touches. The unknown cast did not just offer a new face for ordinary artistic film, but they eliminate all predetermined thoughts and emotion that would have been present with veteran performers. This groundbreaking test will not alter the theater business overnight, but now the exercise has been carried out for many studious to ponder. The recurring and impressive music that amplifies the film is not used to adjust the mood, but to stand in ones mind as a theme for this film. The sincerity pours from all sides of the camera as this peaceful treasure journeys from admiration to spellbinding in more ways than one.
The 411: For the record I purchased this on DVD, mainly because the film was not playing anywhere near me, but I am glad I bought it right away on DVD. We must protect all the ways we watch movies because they all appeal to us every now and then. In case you want to know, the DVD has 2 sets of commentary from the cast and crew, as well as a “Making of Featurette”, Deleted Scene, Cast Auditions, and more. I chose to treat this as a regular review so I could get my thoughts out there as quickly as possible. You should make your own choice as to how you want to watch this film. Every way can be as good as the next, but in the end it is important to see Bubble because it is an unusual and creative sensation.
