THE SOUTH NEVER PLAYS ITSELF

A wide-angle take on images of the American South in film.

Beard, who has written reviews for a variety of publications, aims to examine depictions of the South on film, but the resulting narrative is scattershot and cursory. Most fundamentally, for all of the many incidental comments about the South, the author never establishes a central, foundational thesis on the topic. Beard tosses about scores of adjectives, usually negative, about the South—for example, Tennessee Williams’ view of the region was “haunted, sybaritic, oppressive, and strange”—but does he agree with these depictions? Does Beard find the South a place of “heat, sex and languor” as depicted in A Streetcar Named Desire? Some of the author’s commentary suggests that he does, but he must state it more directly and cogently. Beard’s survey of relevant films is wide-ranging, moving from Birth of a Nation to No Country for Old Men and beyond—but the analysis lacks insight. The author’s discussions of specific films lean heavily on plot summary, which often veers off topic. For example, a consideration of the James Bond film Live and Let Die wanders into general remarks about other 007 films. The tools and language of film criticism are largely absent, as Beard offers little detailed examination of shot composition, editing, scoring, direction, and performance to support his boldly stated opinions. However, some bright spots exist. A chapter on films set in Florida, where the author spent his formative years, has the detail and commentary other chapters lack. Some phrases hit the mark. As a Southern senator in Advise & Consent, Charles Laughton is “a slow-moving serpent, deadly, unforgiving, and always ready to strike.” Elsewhere, though, unnecessary profanity betrays a challenged critical vocabulary. Beard judges Oliver Stone’s JFK, certainly a highly flawed movie, as “a hot fucking mess” featuring “a shitload” of actors.

Wait for the remake.