Deep Two Character Drama Flavors ‘Prince Avalanche’

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Rating: 4.0/5.0

CHICAGO – Take actors Paul Rudd and Emile Hirsch, make them highway line painters, put them in a fire-ravaged woodland and the makings for a savory two character portrait is realized in “Prince Avalanche.” David Gordon Green adapted and directed this appealingly offbeat art film.

The weird story is given oxygen through Rudd and Hirsch, who have a vital yet frustrating chemistry through the film’s journey. They both seek redemption, but they refuse to go in the proper direction towards that absolution. They are absolutely oil and water, and must live together through a monotonous existence of painting highway lines and driving each other crazy. The film also has symbolic shades of the stage play “Waiting for Godot” and the film “Beasts of the Southern Wild,” and uses devices such as two old people in mysterious and enigmatic ways.

Alvin (Paul Rudd) has stuck his neck out for his girlfriend’s brother Lance (Emile Hirsch) by getting him a state job painting highway lines on a remote road, circa 1980s. The atmosphere around them is a fire ravaged woodland just recovering from its devastation. There only human contact is a lovable old coot (Lance LeGault), who feeds them moonshine and unlikely rhetoric.

Lance (Emile Hirsch) and Alvin (Paul Rudd) are Highwaymen in ‘Prince Avalanche’ Photo credit: Magnolia Pictures

Lance is a constantly horny man, while Alvin revels in his monogamy to Lance’s sister. Lance finally capitulates to his randiness and goes into town, the result of which causes an explosion in the men’s relationship. It will take cooperation, empathy and lots of moonshine to get them through their isolation, on the road to nowhere.

As director David Gordon Green told HollywoodChicago.com the actors switch character personas, as the usual comic Paul Rudd plays more serious, and the more serious dramatic actor Hirsch gets to be more goofy. They deliver the static dialogue with aplomb, and create body movements that tighten and direct the line readings. Rudd is especially effective in a scene when he comes upon a burnt out house from the forest fire, and mimes the fantasy of his ideal existence.

Existence is given a symbolic spin in the film, much like the civilization depicted in last year’s “Beasts of the Southern Wild.” The two characters are obvious representations of Sigmund Freud’s ego (the organized realism of Alvin) and the id (the carnal expectations of Lance). How those psychic apparatuses play out is the fascination of the two characters. It is also revealing how self medication – in the form of moonshine – helps to break down those roles.

Also vividly present are the other two cast members, the old man played by Lance LeGault, who delivers the moonshine to the boys, and an old lady portrayed by Joyce Payne. They are both ghostly individuals, present but mysteriously so. It’s possible that they are apparitions or visions of the isolated highwaymen, but their aura has interesting consequences for the duo.

Lance and Alvin Have a Bit of Drunken Fun in ‘Prince Avalanche’ Photo credit: Magnolia Pictures

The film may have one act too many, but the conclusion does have a rich epilogue that is appropriately structured. What is impressive about David Gordon Green’s script adaptation – from a Icelandic film called ‘Either Way’ (2011) – is that it maintains the story structure of the previous film, but creates an American sensibility of the “dream,” featuring capitalism and having it all. The rhythm the director forges with his two actors scores the music of their exchange.

It’s rare that a character piece makes it to the distribution arm of the modern film industry. If your town or city would give up one screen on the multiplex, maybe more of these vital character studies can see the light. In the realm of the ego and id, look in the mirror, pal.

By PATRICK McDONALD Senior Staff Writer HollywoodChicago.com pat@hollywoodchicago.com