Regarding the debate as to what this film means, I think it has no meaning beyond what the viewer ascribes to it, and that may range from nothing to cosmic significance. For me the merit of "Gerry" lies in establishing a mood which is done through visuals, sounds, music, and pacing.
The visuals of the vast expanses of desert are entrancing. If you have ever been in an isolated area of a desert, you will understand that this movie captures the sense of mystery, aloneness, and spiritual awareness that so many people experience in that environment. The time-lapse shots of sun, desert, and clouds are highly reminiscent, and equally as effective, as those in "Koyaanisqatsi."
The music, by contemporary Estonian composer Arvo Pärt, offers perfect augmentation for the meditative frame of mind induced by the desert landscapes.
Then we come to the pacing, which is the single issue that divides opinion on this film. You get introduced to this pacing issue in the first five minutes with uninterrupted shots of a car driving along an isolated desert road accompanied by Pärt's "Spiegel Im Spiegel" (mirror in the mirror). If there is nothing in the opening sequence that appeals to you, then you should bail out and save yourself some time; on the other hand, if you find the opening sequence the least bit appealing, then you might want to stick around.
Whatever you can say about the film, you have to admit that it is unique. Scenes that seem like they should go on for thirty seconds can go on for minutes. At one time I was thinking that, with proper editing, this could make a good thirty minute movie, then I realized that that movie would offer an entirely different experience. For better or worse, the slow pacing is what makes this movie what it is. There is much walking in silence. If you have ever taken long hikes, you will understand the meditative state one can easily slip into by rhythmic tedious walking. I think that capturing that is what is being attempted here - notice how accentuated the sounds of the footsteps are.
The crucial scene that takes place between the two men in their final scene together remains a mystery to me, but, like any good poem, many interpretations are possible.
If you give in to its pacing, accept its rhythms, and attend to its sounds and images, you just might like this film.
The visuals of the vast expanses of desert are entrancing. If you have ever been in an isolated area of a desert, you will understand that this movie captures the sense of mystery, aloneness, and spiritual awareness that so many people experience in that environment. The time-lapse shots of sun, desert, and clouds are highly reminiscent, and equally as effective, as those in "Koyaanisqatsi."
The music, by contemporary Estonian composer Arvo Pärt, offers perfect augmentation for the meditative frame of mind induced by the desert landscapes.
Then we come to the pacing, which is the single issue that divides opinion on this film. You get introduced to this pacing issue in the first five minutes with uninterrupted shots of a car driving along an isolated desert road accompanied by Pärt's "Spiegel Im Spiegel" (mirror in the mirror). If there is nothing in the opening sequence that appeals to you, then you should bail out and save yourself some time; on the other hand, if you find the opening sequence the least bit appealing, then you might want to stick around.
Whatever you can say about the film, you have to admit that it is unique. Scenes that seem like they should go on for thirty seconds can go on for minutes. At one time I was thinking that, with proper editing, this could make a good thirty minute movie, then I realized that that movie would offer an entirely different experience. For better or worse, the slow pacing is what makes this movie what it is. There is much walking in silence. If you have ever taken long hikes, you will understand the meditative state one can easily slip into by rhythmic tedious walking. I think that capturing that is what is being attempted here - notice how accentuated the sounds of the footsteps are.
The crucial scene that takes place between the two men in their final scene together remains a mystery to me, but, like any good poem, many interpretations are possible.
If you give in to its pacing, accept its rhythms, and attend to its sounds and images, you just might like this film.