BED YOU SLEEP IN, THE(director/writer/cinematographer/editor: Jon Jost; cast: Tom Blair (Ray Weiss), Marshall Gaddis (Doug), Kate Sannella (Beth), Brad Shelton (Scott), Ellen McLaughlin (Mrs. Weiss); Runtime: 117; Complex Corp; 1993)
“This extraordinary film offers a long hard look at the American Dream and what it awakens in Americans.”
Reviewed by Dennis Schwartz
Truly independent filmmaker Jon Jost has completed his latest trilogy (“Frameup”/”Sure Fire”) about rural America and has since moved on to self-imposed exile in Europe, as reported in a film ‘zine. This extraordinary film offers a long hard look at the American Dream and what it awakens in Americans. The camera is held steadfast not moving for long periods of time, picking up all the appropriate nuances with a deliberate dispassion. It looks at an Oregon lumber mill whose owner Ray Weiss (Tom Blair) is faced with unsettling economic news about the business he has built-up and worked at for the last 50 years. It focuses on this man and tries to find out who he is, using him as a metaphorical symbol for America. It also contrasts Ray’s views on nature with Emerson’s, paraphrasing from his transcendentalist’s essays which are flashed on the screen.
By seeing who this man is through his thoughts, we get to see how Ray adjusts to his carefully scripted life: the fly-fishing he loves, his easy and almost genteel manners, and his very definite American persona. Ray is forced out of economic necessity to deal with the Japanese businessmen he inherently despises, and we get a picture of a rather complicated individual who has difficulty in communicating with himself and others. So the closer we get to him, the more we sense that there are a lot of things that remain unknown. The shocker about Ray’s life that is about to unfold comes after he meets a foreign stranger on the street who is raving about the day of atonement coming soon and of how God knows all, and that he should pray with him for salvation. But the street preacher is told by Ray, that he has no time to listen to his message. Feeling uncomfortable being around this religious zealot, Ray fumbles around with his wad of bills and thrusts a few dollars in the preacher’s pockets. This is not kindly received by the preacher, as he shouts that “he doesn’t want his money.”
Our perceptions of Ray as a Rock of Gibraltor type is squelched, as we see him come unglued in his very comfortable home. Ray slyly interacts with his second wife (Ellen McLaughlin), as she confronts him with a letter from her college-aged daughter, Tracy, who is his step-daughter via his first marriage. Mrs. Weiss insists on reading out loud a letter addressed to her from Tracy, which accuses him of placing his hands on her private places. Ray tries to respond indirectly to his wife’s question as she says: “All that she wants to know, is it true?” But all he can respond is that he wonders why Tracy is doing this to him, indicating that she is probably mixed up. What results is apocalyptic in tone as the film becomes disturbingly mysterious and evasive, never settling for sure who is telling the truth but, nevertheless, this scene destroys the family. It could be deemed as an attack on America’s soul exposing it to questions about truth and character, as one’s principles are put under the microscope but cannot be determined. The story builds from here to its very tragic outcome.
This is one of Jost’s deepest and most penetrating films to date, it could even be argued that he has made a classically great American film — a poor man’s “Citizen Kane.” It forcefully and subtly tells an American story, replete with unanswered questions about family life that are haunting. It makes you think for a long time afterwards what is it about this country that is so raw and violent in nature — so much so that it becomes a part of the people’s own nature.
One of the most memorable scenes was when the camera panned to Ray dining with some co-workers at a diner and all we could hear, at first, was the muffled conversations of the patrons as the camera meticulously continued to pan the diner. This daily experience of eating out is routine for most Americans but it has rarely been captured so disturbingly exact on film, as we eavesdrop on the banal chatter and come away with a feeling that we heard nothing deeper than a conversation about the weather. But, at the same time, we are learning much about what it is to be an American and living where the frontier used to be. This time consuming shot is not attempted by commercial filmmakers who live in fear of losing their audience in a long non-action shot. That is one of Jost’s strong points, his willingness to explore territory others fear to go.
Jost’s film can probably be criticized for a few lapses in the story line it didn’t clarify more precisely–exploring in greater depth Ray’s relationships with family and friends. But, more importantly, the film should be praised for the poetry it brings to its story when telling about a malaise in the American culture that is difficult to come to grips with. What is clearly seen, is the American landscape that is perceived as so beautiful a sight to behold and the country as so wealthy a place when compared with the rest of the world. Yet, what must finally be asked: What does the American Dream mean…if Americans do not seem to be a happy people without their material comforts?
REVIEWED ON 3/20/99 GRADE: A
Dennis Schwartz: “Ozus’ World Movie Reviews”
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