 Rock and Roll Will Never Die- A Review of "Last Days," by Gus van Sant
The story is simple: I go to a DVD store after many long nights of studying for exams, preparing for presentations, and trying to cope with really difficult homework. The goal is to relax a little and get away from the hectic schedule of life, or Bilkent, what is the difference anyway? I want to lose myself in someone else's story. That's when I catch the sight of one particular movie! It's a DVD featuring the picture of a middle-aged, dirty-blond haired man, smoking a cigarette, with the words "Last Days" at the top. I immediately forget the time, the aim, even the gigantic list of other movies I previously planned to watch, and head for the cash register. It's as if the guy on the cover controls me. The guy - I assume, wish or whatever - looks exactly like Kurt Cobain, with his dirty-hair, indifferent look, and ever famous cardigan.
Alas, despite the hopes and desires, "Last Days" is not a movie about Kurt Cobain. Yes, there are some obvious similarities, what with lead actor Michael Pitt's long blond hair, that cardigan, the cigar-box where he keeps his pot, and his mumblings whenever he is alone. Still, no way, "Last Days" is NOT a movie about Kurt Cobain. If one tries to watch it in relation to ones knowledge of Kurt's life, inevitable questions will pop up, like where is Courtney…where is Frances Bean…what the hell are those people doing in that mansion? It was a bit of a disappointment, and I found myself somewhat lost trying to figure out the puzzle that director Gus van Sant seems to demand the viewer to solve.
Still, I want to try and get rid of all of my Kurt knowledge, and my hopes about the film. Sure, I can't help but say "Oh, come on, when Blake, the main character, died, Kurt Loder broke the news! How can you expect me to separate Blake from Kurt!?" It's a challenge, but I try to minimize all that connects the two. The cold, yet attractive spirit of loneliness is a central focal point to the movie, and is so reminiscent of Kurt Cobains live, it's almost as eerie as it is captivating. It is such a stiff loneliness that the story’s characters are experiencing that they barely talk throughout the film. It's a perfect combination of silence and lonesomeness that greets the viewer. It is such an attractive solitude experienced by Blake that he never complains, or even tries to escape. Again, with Kurt Cobain in my mind more that Blake, I start to take this journey into the thick and deserted world he lives in. I begin to imagine myself mumbling as I walk past trees, wear nightgowns in the middle of the day, run around with the rifle that was probably Blake's final companion in suicide, sketch some writings on a piece of paper, and tear off the wires of guitars. I secretly want a magical hand to drag him out of this life, slowly and softly, taking him away from all he experiences in this deserted land. But the fear of ruining the ambiance is too big of a risk to take. On the screen, his lonely world is less watched than experienced. When the time of death does comes, Blake's soul parts from his body and he begins to climb to what might be the most isolated, deserted place of heaven, and I know his loneliness will continue for an eternity.
As Gus van Sant analyzes the ideas of alienation and isolation, much like what was experienced by Kurt Cobain - and yes, no matter how I try, it's too hard NOT to equate Blake with Kurt - he somehow managed to get me to feel the same isolation, and as a result, connect to Blake.
Iþýl Kutluay (ECON/II)
i_kutluay@ug.bcc.bilkent.edu.tr
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