42 of 52 people found the following review helpful:
5.0 out of 5 stars
Ambitious and Amazing but not for Everyone, June 20, 2005
Few films on have elicited anywhere near the disparity of comments that "The Doom Generation" has received, along with an extreme bi-model vote distribution on the IMDb. While I hate to prattle on about hidden meanings and messages that do not exist or that are not intended, Araki (unlike most film makers) is sophisticated enough to actually put such elements in his films. And he does not strike me as so full of himself that he would do this with no purpose other than mind games. Therefore, I will elaborate on my own interpretation of what he is trying to convey with this film.
McGowen's character, Amy Blue seems to be symbolic of the concept of pure beauty, which could be considered our closest relation to a world that exists outside ordinary life. An idea that psychologists like Jung (influenced by Eastern religion) have imagined as involving a sort of "collective unconscious" that persists through time while actual generations of human beings are born and die. Making beauty our proof while we live that there is "something higher" than ordinary existence. Like when a composer creates a melody and attributes it to a higher authority because they can't believe themselves capable of bringing something that perfect into the world.
Some do not recognize beauty when they see it and some are inspired when they see beauty, but most must possess beauty-or failing to gain possession destroy it rather than share it with others. Protecting beauty from those who would possess it or destroy it is the focus of this film. Although Amy is able to disguise herself from most people (and from most viewers) behind a façade of bad language and grim 'attitude', she is occasionally recognized by those who would possess or destroy-illustrated by the characters that go into violent rapture when they see her.
(SPOILERS AHEAD) My guess is that Jordan White is a too pure angel sent to protect Amy, and that Xavier Red is an evolving Jordan as his purity is replaced with protective survival skills. This is why the police agency can only find Amy's fingerprints on file. Like Charlie Kaufman and his twin brother Donald in 'Adaptation', death of one part of the dual identity is necessary for an integration of the two personalities. Akai likes to leave his involved audience members with the feeling that they were dreaming while riding a roller coaster.
There are a lot of God-Devil images in this film, with '666' presaging another attempt to destroy beauty or the evidence of 'something higher'.
Araki films are often about things not being what they appear to be; and they require the viewer to sort out complexity and revelation in what appear to be one-dimensional characters undergoing no real change. For example the sex scenes in this film, which initially seem crude and graphic, actually have a strange sort of innocence if you get past your own preconceptions.
This film is ambitious and amazing but not for everyone.
Then again, what do I know? I'm only a child.
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4 of 4 people found the following review helpful:
1.0 out of 5 stars
Worthless film....quite possibly the worst ever!, August 18, 1999
By A Customer
I have heard that in order to fully appreciate this film, one must see the unedited version, which restores at least ten minutes of footage. Unless those ten minutes somehow manage to provide character development, competent direction, literate dialogue, and appealing actors, no amount of "lost footage" could possibly save this tragic waste. Way, way overlong, even at 75 minutes, this film has no direction whatsoever unless one considers trendy nihilism and utter banality proper destinations for film. I must say that this is the most arrogant film ever made because it assumes that people are so desperate to be entertained that they would throw away a good hour and a half in order to be repelled, disgusted, offended, and humiliated. Any people who claim that this film peeks into the underbelly of society make one key mistake: they forget that film is, above all else, a tool of both education AND entertainment, two qualities this film avoids at every turn.
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4 of 4 people found the following review helpful:
5.0 out of 5 stars
The Doom Generation breaks every boundary, January 21, 1999
By A Customer
Greg Araki's second installment in his teen-angst slacker/nihilism trilogy, The Doom Generation, goes where many movies fear to tread. The movie consists mostly of sex, cussing and violence but after seeing it all the way through, it no longer seems gratuitous. The movie is filled with little statements here and there that actually hold philosophical potential but the characters never really get a chance to just stop for a moment and consider the possibilities. Rose MacGowan plays a bratty meth user who ends up in the middle of a love triangle, literally. James Duvall plays her burnt out boyfriend whose density doesn't suggest a lack of depth. He keeps on being victimized throughout the film, right until the very end. One of the best things about the movie are all of the suggestive signs in the background that only give possible excuses for the odd reality the Rose and James share. The movie strictly follows several themes which many people may overlook due to the shock value of many other components. This movie definitely has an acquired taste to it and is clearly meant for mature audiences.
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