Michel Gondry's film opens with a documentary about jazz musician Fats Waller relating his roots in the small town of Passaic, New Jersey and specifically a particular brownstone on one corner of the neighborhood. As you watch this documentary complete with file footage, it becomes more apparent that members of the film's cast seem to appear in the documentary, including the proprietor of Be Kind Rewind, an elderly gentleman who bares a remarkable resemblance to Danny Glover. Without making much ado over this "poorly concealed" fact, the documentary footage ends as the film proper begins.
This documentary we are introduced to actually serves as the backbone both for the characters' story and the overall narrative. It returns every once in a while acting as "Greek Chorus" offering parallels that serve as commentary on the situation of the characters. As we learn of Mr. Fletcher's (Danny Glover) dilemma of trying to keep his small, VHS rental video store afloat, one of the film's important metaphors comes to light. Be Kind Rewind is a small business run by one man that offers personal service and a distinctive film selection in an ever increasing landscape of chain DVD rental stores that cater to the lowest common denominator. Craft and some may say "taste" are slowly succumbing to the strengthening chokehold of marketing and convention. One of the issues of contemporary film, at least in the sense of the general landscape, challenging the industry today is the increasing loss of originality and individuality of films released, particularly by the major studios. Tent pole projects practically steamroll over smaller films who can not compete with the marketing war chest it takes these days to attract a substantial market share. At the same time, so-called "producers" rely more and more on gimmicks, gags, and effects as a means to dazzle audiences rather than actually tell them a story; in turn, the viewing public's expectations decrease as the ease with which they are entertained increases. This is plainly stated when Mr. Fletcher is told by a fellow Fats Waller devotee to adapt to the times, to cater to the masses as a means to save his shop.
It is therefore good fortune that the film smoothly and quickly moves to the central dilemma on which the film is marketed. Left in charge by Mr. Fletcher who goes away on a trip to both celebrate the anniversary of Fats Waller's death and go on a fact finding mission to assess the competition, Mike (Mos Def) is faced the daunting task of recreating the store's catalog of VHS films which have been erased by Jerry (Jack Black) in a fantastical conceit that is easy to swallow thanks to the human underpinnings of why Mike must keep up all appearances while Mr. Fletcher is away. Mos Def proves capable in delivering a subdued and simple performance in his portrayal of Mike, particularly when it comes to his respect for Mr. Fletcher as both a manager and a surrogate father figure. Special mention must also go to Jack Black for turning in a much more ensemble performance one might not expect when considering his other works as lead. Here, he allows other actors to have the scene, generously allowing the entire cast an opportunity to "be" while he accents their performances. Jack Black fans may be disappointed that the comedy of
Be Kind Rewind is much more understated than say,
School of Rock.
This is particularly important when the pair begin the task of recreating
Ghost Busters to fulfill a customer's request. The humor should be grounded in their attempts to remake the film's famous scenes with the limited resources and time they possess. Audiences laugh with their inventiveness rather than at individual antics. There is something quite satisfying in Mike and Jerry's solutions based on their memory of the film. With all manner of jury rigged contraptions, a shoulder-mounted VHS camera, and one take, they utilize perhaps a not-so-exaggerated guerilla filmmaking style to accomplish their goal.
In essence,
Be Kind Rewind is writer/director Gondry's love letter to independent filmmaking as well as the filmmaking spirit. The plot device of trying to cover up the loss of the catalog is only a vehicle for the next metaphor of the film, that of creativity. Gondry sets up situations for the main characters to problem solve. As they take on their next recreation, there is great delight in witnessing what they do to cheaply and quickly film a hit buddy film set in Hong Kong. His subtle message is that passion is the first, most important ingredient in the filmmaking process drives even his own directorial style for the film. There is a naturalness to the style of the film that belies it's budget. There are not a lot of overly composed shots. In fact, some of the setups are somewhat "dirty" while framing is not heavily enforced on the actors. It seems Gondry was more interested in capturing the passion of Mike, Jerry, and the others they begin to inspire as their remakes become more popular than the originals, prompting neighborhood residents to join in the magic and joy of making films. This is best exemplified in a terrific one take shot of the community helping Mike and Jerry recreate several well-known films. Moving from one famous scene to the next, some of the simplest, practical, yet creative in-camera techniques used in films past are on parade; Gondry allows all the backstage trickery to be seen, for the cast and "crew" to frame-in, and the imperfections to show as this segment is not about the final product, but about how the final product came to be. It is perhaps his personal standing ovation to old-fashioned, homespun ingenuity that is slowly dying in a world where films are being written around effects shots.
Naturally, just as Mike and Jerry and their capable crew are reaching the pinnacles of success, with customers lining up outside the store, the party comes to an abrupt end in perhaps the weakest segment of the film. Now that the store is filled with "sweded" films (the term used to describe remaking films), this ultimately attracts the attention of the Hollywood studios and their lawyers, personified by Sigourney Weaver, who bring all manner of legalese, forms, and threats of grossly overestimated penalties to Mr. Fletcher just as he was seeing hope for his little shop. Ultimately, the issue of copyright and intellectual property would have had to be addressed in a film of this nature, however, Sigourney and company breeze in and out of the film so fast that it seems almost fruitless to have brought it up in the first place. Granted it was probably not Gondry's intention to debate this issue via allegory, but one can't help but wish for something a bit meatier than what was presented. Regardless, the air seems to have been let out of the bid to save Be Kind Rewind. However, the community rallies, intent on filming something original...for the shop, and for themselves. At this point the film nicely bookends with the beginning as the Fats Waller documentary returns. This time, however, the making of the documentary is revealed. The contributions by everyone in the neighborhood to the scenes previously interjected into the film show people of all walks of life providing their little touches of creativity, including how they achieved the hand-cranked camera effect for the file footage. There is energy in the air, and the neighborhood is alive. Bringing the community together is perhaps the film's most salient point. Though the impetus for making the film was for a charity screening to benefit Be Kind Rewind, Gondry clearly shows that the process of filmmaking has affected everyone in Passaic, or at least those within the area around the shop. When the "curtain" rises on the screening of the finished product and everyone's hard work, the satisfaction on people's faces represents that it is not about what can be gained from films, but from what stories or storytelling does for people. The format choice of VHS seems to be quite intentional and effective if parallels are to be drawn with the home movie. Home movies are personal storytelling and the passing on of history at its most basic and accessible to the general public. The documentary the community creates may not be factual with regards to history, but it is the history they believe in. It is the story they wish to tell.
The ending may be a bit of a conundrum after initial viewing. However, upon consideration, there is something appropriate about it and credit must be given to Gondry for avoiding a manufactured emotional moment no matter how "right" it might have been. As is, the film closes leaving the viewer with sensations of nostalgia, of wanting to visit old haunts, and wondering if things you remember are still there. Is Be Kind Rewind Video Store still there? Bittersweet perhaps, but a fitting cap to a film about the increasing loss of simplicity, with the hope that it is and can be kept alive...somewhere.
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