Buffalo ‘66 (1998)

I know people who always want obscure movie recommendations, but I’m never sure why. Every time I do suggest some of the more avant-garde fare available, these same people walk away disappointed. The whole basis for independent cinema is that it typically defies standard conventions. Indie films often feature lesser-known players, are shot in unusual ways or formats, and tend towards deeply personal stories with ambiguous resolutions. In the hands of the less talented, they’re sloppy celluloid train wrecks. When done well, however, we get unforgettable masterpieces like Vincent Gallo’s Buffalo ’66.

The film is about just-released ex-con Billy Brown (played by Gallo himself, who wrote, directed, and even scored the film). After serving five years in prison for a crime he didn’t commit, he goes back home with his wife to visit his parents. Except for one thing…he’s not actually married. Billy lied to his folks to hide the fact that he was incarcerated, so he has to find a new bride straight away upon his release. Rather than mail ordering one from Singapore, he does the next best thing and kidnaps Layla (played wonderfully here by Christina Ricci), a hapless but obedient tap dancer. He convinces her to go along with the role-play, otherwise he’ll be forced to bite off her cheek and never talk to her again. Billy doesn’t have a gun and actually gives Layla several opportunities to escape early on. She never does. We follow them through the awkward–but hilarious–visit to the Brown home and then learn of Billy’s plan to assassinate a former Buffalo Bills kicker who inadvertently ruined his life.

Buffalo ‘66 is definitely out there. This is not the kind of film Zac Efron could star in alongside Miley Cyrus with a Paramore soundtrack. This is hard-boiled, in-your-face, idie filmmaking at its absolute best delivered from a true cinematic maverick. At its core, it’s an introverted, personal story about isolation. Gallo is a bold visionary who took aesthetic chances with the film. Fade to whites, still photo montages, shot on reverse stock utilizing a grainy texture…it leaves the viewer bewildered with its stunning imagery. Director of photography Lance Acord’s (Being John Malkovich, Adaptation, and Lost In Translation) saturated colors makes you feel as if every frame is a photo found in an old shoebox, and it works so well because this is a film deeply rooted in nostalgia. The script is brimming with comedic moments, and the cast is top notch, including awesome turns by Ben Gazzara, Anjelica Huston, Kevin Corrigan, Jan-Michael Vincent, and Mickey Rourke at a time when it wasn’t chic to use Mickey Rourke. Here he plays a sinister-but-uber-cool bookie.

The biggest drawback to Buffalo ‘66 is that it’s not very accessible and may seem utterly incomprehensible. Much of an audience’s suspension of disbelief is built through an understanding of the monumental hurt and loneliness of the characters. This is a film for people who have either felt or can understand Billy and Layla’s isolation. Without being sympathetic to their plight, it’s hard to invest in them or, on a more logical note, understand why Layla doesn’t run away when she has the chance. The viewer isn’t driven by the plot, rather by sheer fascination for these damaged individuals.

The audience is given very few clues to understand when the story takes place. It could be the 1980s, or it could be set in the present. There are no cell phones, the cars span different eras, and even the fashions make it hard to pinpoint. While something like this could serve as a distraction in a lesser movie, here it works to instill a sense of chronological ambiguity, allowing it to age gracefully with future audiences much the same way Pulp Fiction does. The overall absence of technology gives the film a warm, organic feel.

Buffalo ’66 is a classic independent film and not something all viewers will find palatable. However, for those who like to take chances with their cinema, it’s a rewarding experience that won’t disappoint.