Synopsis: Teen friends Tummler Nick Sutton and Solomon Jacob Reynolds navigate the ruins of a tiny, tornado-ravaged town in Ohio that is populated by the deformed, disturbed and perverted. When not gunning down stray cats for a few bucks, the boys pass their time getting stoned on household inhalants. Gummo is a film written and directed by Harmony Korine. It is the first feature film directed by Korine.
It was produced by Independent Pictures with a budget of 1. Jason Guzak Skinhead 1 as Skinhead 1. Casey Guzak Skinhead 2 as Skinhead 2. Wendall Carr Huntz as Huntz. James Lawhorn Cowboy 1 as Cowboy 1. James Glass Cowboy 2 as Cowboy 2. Ellen M. Smith Ellen as Ellen.
Charles Matthew Coatney Eddie as Eddie. Bryant L. Crenshaw Midget as Midget. Daniel Martin Jarrod as Jarrod. Nathan Rutherford Karl as Karl. More like this. Watch options. Storyline Edit. Constructing this film through random scenes, director Harmony Korine abruptly jettisoned any sort of narrative plot, so here we go: Solomon and Tummler are two bored teenage boys who live in Xenia, Ohio. A few years ago, a tornado swept through it, destroying more than half the town and killing the same amount, including Solomon's father.
The film, from there, chronicles the anti-social adventures these two boys have. These include sniffing glue, killing cats, having sex, riding dirtbikes, listening to black metal, and meeting a cavalcade of quirky, bizarre, and scary people. These include a man who pimps his mentally ill wife to our anti-heroes, three sisters who play with their cat and practice becoming strippers, a black midget fending off the sexual advances of a troubled man played by the director Harmony Korine , a year-old gay transvestite who is also a cat killer, Solomon's mother who seems to be the only glimpse of sanity, two foul-mouthed six-year olds, and most importantly, a nymphlike skateboarder who walks around town wearing pink rabbit ears.
Prepare to visit a town you'd never want to call home. Rated R for pervasive depiction of anti-social behavior of juveniles,including violence, substance abuse,sexuality and language.
The unyielding and uncomfortable manner in which Gummo grapples with human diversity has also allowed it to linger long in the memory. And just to confuse matters further, Korine leans on the redoubtable and classically-inclined talent of the late cinematographer Jean-Yves Escoffier who captures all the rasping degradation on show by mixing ghostly, gliding pans with fuggy, close-quarters hand-held techniques. Janet Maslin of the New York Times brassily announced in the opening line of her hard takedown that Gummo was the worst film of the year.
And to thumb its nose further at those looking to be placated by drab convention, it does contain staples of Hollywood films such as cheap eroticism, sexual danger, murder, youthful monkeyshines, desperation caused by poverty, musical montages, heartfelt monologues and even an incredible dance sequence. It just recalibrates them to fit with its own tumbledown milieu. Though not as raw and emotionally complex as films by John Cassavetes, or as spiritually profound and rounded as those by Robert Bresson, you can trace DNA back to both of these directors.
A shirtless boy with a bunny hat appears multiple times. Early on, he urinates off of a bridge onto the freeway below. Korine fills the world with bigotry, hedonism, nihilism and sexual perversion.
Old men prey on young girls outside of the supermarket.
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