SLIFF 2010 Review: PUTTY HILL

SXSW Review originally published on March 19, 2010.

PUTTY HILL is a film that thrives on its authenticity, portraying a clutch of realistic characters in an impoverished area of Baltimore, all connected and affected by the death of a young man, taken by his addiction to heroine. The film, directed by Matthew Porterfield, explores these relationships and character interactions, all revolving around the recently deceased Cory, whom we never meet outside of impressions we glean from the characters in the film.

Constructed almost entirely in the moment, PUTTY HILL was filmed from a basic outline and premise and is cast entirely with local, non-actor residents of the area. This risky method pays off, creating an atmosphere rich with chemistry, conflict and a mixed urban culture. The filmmaker takes his camera around the neighborhood, casually interviewing family, friends and acquaintances of Cory, occasionally breaking the fourth wall. The audience never sees or is introduced to the filmmaker asking questions, but the sporadic inclusion of the off camera encouragements and inquiries adds to the realistic and spontaneous feel.

PUTTY HILL takes this hypothetical scenario and runs with the concept, giving the on screen participants fairly free reign over the material, allowing them to make their characters their own, perhaps even mirroring their own lives in ways that allow the audience an intimate, inside look at the heart of the people, unaffected by the filter of experienced actors. In many ways, the film is more of a social role-playing experiment than it is a traditional narrative film.

While the initial 15-20 minutes of PUTTY HILL can take some patience, once accustomed to the filmmaker’s underlying idea behind the movie the experience sinks in and takes hold over the viewer’s attention. The conversations that take place do not feel forced or staged, further giving evidence to the likelihood of these stories and characters are originated in these peoples’ real lives.

PUTTY HILL contains conflicts as well as reflections on the past. Family dynamics play a major role, much of it dysfunctional. Equally present and perhaps even more intriguing are the more touching and poignant moments. This is especially true of a lengthy scene depicting Cory’s wake, with many family and friends having turned out. The scene paints a lovely picture of people putting aside their differences and coming together to celebrate a loved one’s tragically short life. The occasion is celebrated with karaoke, surprisingly doing justice to the mood of the scene.

Overall, PUTTY HILL is a satisfying cinematic experience, a study of human nature, turning the tables on the topic of death. Instead of focusing on the deceased, the film focuses on those close to the deceased and how their lives are affected by their loss. PUTTY HILL is appropriately slow in pace, but not boring. It’s a film that doesn’t preach or judge, but does stick around long after the film ends and grows on the viewer in a positive way.

PUTTY HILL will play during the 19th Annual Stella Artois St. Louis International Film Festival on Sunday, November 21st at 1:30 pm at the Tivoli Theatre.