Every time I watch "Napoleon Dynamite," I am struck by its humanity. For most of the film, everything feels inconsequential, even dumb. But come the final scene, I am reminded of the subtle, yet strong message at hand, and realize how deeply I've come to know the characters.
"Napoleon Dynamite" is about people that most of the world would call losers. The titular protagonist is a beyond-awkward high schooler with surreal aesthetics and interests. His pal Pedro is a quiet newcomer to the school with no friends. Brother Kip Dynamite is a grown man who still lives with his grandmother and searches the Internet for his soul mate. Even the antagonist, Uncle Rico, is an ambitious man crutched by aching nostalgia and a desire to find love.
The film follows these one-of-a-kind characters as their worlds collide in what seems to be the most boring part of Idaho. Filmed entirely on-location, it almost feels like director Jared Hess puts a magnifying glass on a fly-over part of the country, showing that people actually live in these remote areas and although their lives area little different, their hearts beat all the same.
Filmically, "Napoleon Dynamite" is a very simple piece of work. Its independent spirit is reminiscent of Kevin Smith's "Clerks" or Richard Linklater's "Slacker." The camera hardly ever moves and the editing remains functional throughout. Quite frankly, it's the kind of movie that any amateur filmmaker could put together.
Thus, what distinguishes "Napoleon Dynamite" is the script. Written by Jared and his wife Jerusha, the story is charmingly episodic, and the characters are unforgettable. Each on-screen person is utterly unique, and they offer some of the most quotable lines in comedy-movie history.
Jon Heder, of course, has the best one-liners. His performance as Napoleon is quite underrated, as he essentially created a new archetype here. It's hard to imagine being told to play Napoleon Dynamite before Napoleon Dynamite existed, but Heder nails it. I'm convinced that nobody else - not even the most accomplished thespian - could have done Napoleon better than Heder.
As seemingly pointless as "Napoleon Dynamite" can feel throughout, there is a quiet redemption for all the characters in the end, which leaves the audience feeling good. It demonstrates that even these painfully strange, lowest-brow figures can find happiness.
Honestly, I didn't understand this movie when I first watched it - I found the humor stupid and the story meaningless- but as I've become more versed in independent cinema, I've come to realize it as more than just a comedy. Every time I return to the film, I not only find it funnier, but I also find it more touching. Even if the awkward humor or flat storyline isn't for everyone, there is still something to be appreciated in "Napoleon Dynamite" - even if it's just the (undervalued) soundtrack.
"Napoleon Dynamite" is about people that most of the world would call losers. The titular protagonist is a beyond-awkward high schooler with surreal aesthetics and interests. His pal Pedro is a quiet newcomer to the school with no friends. Brother Kip Dynamite is a grown man who still lives with his grandmother and searches the Internet for his soul mate. Even the antagonist, Uncle Rico, is an ambitious man crutched by aching nostalgia and a desire to find love.
The film follows these one-of-a-kind characters as their worlds collide in what seems to be the most boring part of Idaho. Filmed entirely on-location, it almost feels like director Jared Hess puts a magnifying glass on a fly-over part of the country, showing that people actually live in these remote areas and although their lives area little different, their hearts beat all the same.
Filmically, "Napoleon Dynamite" is a very simple piece of work. Its independent spirit is reminiscent of Kevin Smith's "Clerks" or Richard Linklater's "Slacker." The camera hardly ever moves and the editing remains functional throughout. Quite frankly, it's the kind of movie that any amateur filmmaker could put together.
Thus, what distinguishes "Napoleon Dynamite" is the script. Written by Jared and his wife Jerusha, the story is charmingly episodic, and the characters are unforgettable. Each on-screen person is utterly unique, and they offer some of the most quotable lines in comedy-movie history.
Jon Heder, of course, has the best one-liners. His performance as Napoleon is quite underrated, as he essentially created a new archetype here. It's hard to imagine being told to play Napoleon Dynamite before Napoleon Dynamite existed, but Heder nails it. I'm convinced that nobody else - not even the most accomplished thespian - could have done Napoleon better than Heder.
As seemingly pointless as "Napoleon Dynamite" can feel throughout, there is a quiet redemption for all the characters in the end, which leaves the audience feeling good. It demonstrates that even these painfully strange, lowest-brow figures can find happiness.
Honestly, I didn't understand this movie when I first watched it - I found the humor stupid and the story meaningless- but as I've become more versed in independent cinema, I've come to realize it as more than just a comedy. Every time I return to the film, I not only find it funnier, but I also find it more touching. Even if the awkward humor or flat storyline isn't for everyone, there is still something to be appreciated in "Napoleon Dynamite" - even if it's just the (undervalued) soundtrack.