Smart sharply rendered opening credits give way to a presentation at once pointedly over the top and seemingly low-budget. Superficially meager production values are an odd complement for exaggerated dialogue, characterizations, and music. The acting is rather ham-handed, clearly guided by Vanessa Libertad Garcia's hand as director, and the pacing is much the same. 'Good mourning, Lucille' is unquestionably ridiculous, but it's also earnest, well-made in its ridiculousness - and weirdly fun, right away.
Every aspect of the film is given great care, and in no small part executed with the same slant of conscious embellishment. There's swell consideration for filming locations, set decoration, hair, makeup, and costume design. Garcia's screenplay, co-written with Shannon Constantine Logan, is filled with smart, clever dialogue, diverse and complete characters, strong scene writing, and an engaging overall narrative. I used the word "ham-handed," but the further we dive into the runtime, the more cursorily awkward and distinctly inelegant the display becomes. Yet it's also obvious that all the gracelessness is wholly intentional, and in that purpose, it becomes intelligent in its craft, strangely engrossing, sometimes very funny - and always entertaining. Why, if the cast were filled with A-listers instead of players of little broad renown, 'Good mourning, Lucille' strikes me as a feature that would be hailed as an instant faux-indie cult classic.
Just because their names aren't widely known doesn't mean these assembled actors are any less capable, however. These figures are deliberately overcooked, and everyone on hand is fantastic as they inhabit the roles. Richard Banker, Sarah Connine, Mercedes LeAnza, and Brit Manor are demonstrate fine nuance, range, and physicality in helping to bring the story to life. Given little relative time on screen, even Eric Roberts gives a rare, uncharacteristic exhibition of acting ability of the sort we're not used to seeing from him. Above all, star Najarra Townsend illustrates all the same skills as her co-stars, and surprising dexterity, in her dual role as Lucille and Rachel. Lucille, especially, is a part far removed from others I've seen her in, yet she embodies the somewhat eccentric twin with a fullness that shows Townsend to be someone deserving of much greater recognition.
The calculated gawkiness of the movie rides a fine line, ever threatening to stumble into crude clumsiness in its overt aggrandizement. However, I think its strengths far outweigh subjective weaknesses. For all the apparent artlessness, every element is wonderfully actualized - writing, direction, acting, technical craft - with perfect design. It's a bit jolting to learn that this was Garcia's first and last full-length feature before she died - I can only ponder what further brilliance we may have seen from her. I'm grateful, though, that she at least gave us 'Good mourning, Lucille - a marvelously enjoyable, all-around excellent if peculiar piece of cinema that's worth far more than 75 minutes of our time.
Well done!
Every aspect of the film is given great care, and in no small part executed with the same slant of conscious embellishment. There's swell consideration for filming locations, set decoration, hair, makeup, and costume design. Garcia's screenplay, co-written with Shannon Constantine Logan, is filled with smart, clever dialogue, diverse and complete characters, strong scene writing, and an engaging overall narrative. I used the word "ham-handed," but the further we dive into the runtime, the more cursorily awkward and distinctly inelegant the display becomes. Yet it's also obvious that all the gracelessness is wholly intentional, and in that purpose, it becomes intelligent in its craft, strangely engrossing, sometimes very funny - and always entertaining. Why, if the cast were filled with A-listers instead of players of little broad renown, 'Good mourning, Lucille' strikes me as a feature that would be hailed as an instant faux-indie cult classic.
Just because their names aren't widely known doesn't mean these assembled actors are any less capable, however. These figures are deliberately overcooked, and everyone on hand is fantastic as they inhabit the roles. Richard Banker, Sarah Connine, Mercedes LeAnza, and Brit Manor are demonstrate fine nuance, range, and physicality in helping to bring the story to life. Given little relative time on screen, even Eric Roberts gives a rare, uncharacteristic exhibition of acting ability of the sort we're not used to seeing from him. Above all, star Najarra Townsend illustrates all the same skills as her co-stars, and surprising dexterity, in her dual role as Lucille and Rachel. Lucille, especially, is a part far removed from others I've seen her in, yet she embodies the somewhat eccentric twin with a fullness that shows Townsend to be someone deserving of much greater recognition.
The calculated gawkiness of the movie rides a fine line, ever threatening to stumble into crude clumsiness in its overt aggrandizement. However, I think its strengths far outweigh subjective weaknesses. For all the apparent artlessness, every element is wonderfully actualized - writing, direction, acting, technical craft - with perfect design. It's a bit jolting to learn that this was Garcia's first and last full-length feature before she died - I can only ponder what further brilliance we may have seen from her. I'm grateful, though, that she at least gave us 'Good mourning, Lucille - a marvelously enjoyable, all-around excellent if peculiar piece of cinema that's worth far more than 75 minutes of our time.
Well done!
