Track 29 (1988) ***
Track 29 (1988) is unmistakably a Nicolas Roeg film. By that I mean that it's surreal, obtuse, over-the-top, disturbing and bizarre. And in the case of this film, incredibly Oedipal. Though, without spoiling anything, Oedipal isn't even quite the correct term, since the viewer can't really be sure how much of what is on screen is actually happening vs. drunken fantasies mixed with memories of a rape. If that sounds confusing or vague, well, so is the film.
The two leads, Theresa Russell and Gary Oldman—as one would expect with actors of their caliber—both immerse themselves completely and they are both very good (though Russell's southern accent is a bit dodgy). Christopher Lloyd and Sandra Bernhard are intentionally given non-comedic roles but their blandness just feels like a waste of talent. There's a bit of a Mike Leigh feel to Track 29 when it comes to the characters and the production design but the absurdity of the situations combined with Roeg's signature slow motion "dream" sequences remind you that you're watching one of his films.
I'd never heard Track 29 discussed among Roeg's filmography and I blind bought the film based on his "brand" and my enjoyment of other films of his that I'd seen. I can understand why audiences may not have connected with the film when it was released—Roeg is already a niche, outré filmmaker, so when you add a taboo topic like incest to the mix (faux or not), you're limiting yourself even further. I liked Track 29 the second least of the nine Roeg films that I've seen, but I still enjoyed it because there really isn't quite another experience like watching one of his films.
You can find my Nicolas Roeg Feature Films Ranked list here.
The two leads, Theresa Russell and Gary Oldman—as one would expect with actors of their caliber—both immerse themselves completely and they are both very good (though Russell's southern accent is a bit dodgy). Christopher Lloyd and Sandra Bernhard are intentionally given non-comedic roles but their blandness just feels like a waste of talent. There's a bit of a Mike Leigh feel to Track 29 when it comes to the characters and the production design but the absurdity of the situations combined with Roeg's signature slow motion "dream" sequences remind you that you're watching one of his films.
I'd never heard Track 29 discussed among Roeg's filmography and I blind bought the film based on his "brand" and my enjoyment of other films of his that I'd seen. I can understand why audiences may not have connected with the film when it was released—Roeg is already a niche, outré filmmaker, so when you add a taboo topic like incest to the mix (faux or not), you're limiting yourself even further. I liked Track 29 the second least of the nine Roeg films that I've seen, but I still enjoyed it because there really isn't quite another experience like watching one of his films.
You can find my Nicolas Roeg Feature Films Ranked list here.
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