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Prince Avalanche

Prince Avalanche

Prince
Avalanche
is a difficult film to pigeonhole, and that’s part
of its appeal. Writer-director David Gordon Green, who made his name with a
similarly meditative film, George
Washington,
based this elliptical character study on an Icelandic movie
called Either Way, transposing its
location to an area of Bastrup, Texas that was devastated by a forest fire.

His main characters are a purposeful fellow (Paul
Rudd) pumped up with false bravado, and his girlfriend’s aimless brother (Emile
Hirsch), who’s agreed to work with him on a government job designed for loners:
repainting the center-line markers and installing reflective posts along the
roadway in the midst of that dense forest land. Rudd is an enthusiastic
outdoorsman who prides himself in his self-sufficiency, and stays in touch with
his girlfriend by hand-writing her letters (the story takes place in 1987
before cell phones were ubiquitous). Hirsch is a hell-raiser who lives for the
weekends when he can go drinking and carousing.

Filmmaker Green enjoys observing the behavior of
his protagonists, and the very few people they encounter in their travels, but
he is equally interested in how their contrasting personalities stand out
against the harsh and lonely environment that surrounds them. Perhaps, he
suggests, some relationships need to break down completely so they can be
rebuilt, stronger than ever–like the land itself.

For some viewers, watching Prince Avalanche may seem like staring at water, waiting for it to
boil. But if you derive satisfaction from watching two good actors breathe life
into a pair of flawed, mismatched, but utterly believable characters, you will
derive satisfaction from David Gordon Green’s organic indie film.

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