Bernie

Bernie is one of those films that came and went, and is now waiting somewhere to be rediscovered. It was Albert Dupontel's directorial debut, but it's such a weird and uncomfortable film that I'm not surprised it didn't become a major hit. It has everything to be a cult hit, but for that, it seemingly didn't reach the right people. And to be fair, the film didn't stick with me as other cult classics have. But I did love it the first time I watched it, so it deserved a second chance. And boy, I'm glad I gave it a spin again because there are some wacky, memorable scenes tucked away in this one.

Albert Dupontel is a famous face in French cinema. He started his career as a film actor in 1988, and a solid 8 years later, he tried his hand at directing. It wasn't just a one-off for Dupontal. He's directed eight films until now, and some of his later ones got a fair amount of attention. Bernie is probably a bit too messy and extreme for that. It's a typical film from someone with a lot of ideas and little self-control (first-time directors tend to be like that), but some people (me included) tend to like that kind of thing. The endless energy, crude bravery, and freshness more than make up for any negatives.

This is a film that should probably come with several trigger warnings. The comedy is dark, brass, and crude. The titular character is an insufferable guy who barges through the entire film like a bull in a china shop. The secondary characters aren't any better, and it's not below Dupontel to poke fun at rape, murder and abuse. Obviously, this won't be everyone's cup of tea, but there are no extra layers or "subtle" messaging behind any of it. It's just a bit of harmless fun for people who can take this type of comedy. If you're not part of that crowd, that's fair, but I'd advise against watching this film.

Bernie was adopted at a young age. Even though he's had a good and sheltered life, he wants to know more about his biological parents. He gathers all the money he saved over the years, he bids his adoptive parents farewell, and sets off to the big city to find out what happened to him. He rents a place and breaks into the adoption home where he was left as a baby. They still have a file on him, which directs him to the man who originally found him. It's the beginning of a journey full of discoveries, but it's unclear if Bernie is ready to deal with the consequences of these new revelations.

Aesthetically, there are two ways to approach this film. It's fair to be a bit grumpy about the drab and lifeless colors, the technical imperfections are rather obvious, and the visuals have a rushed quality that detracts from the overall quality. On the upside, the camera work and framing are relatively inventive, adding visual gags and extra impact where appropriate. It makes the film more dynamic and entertaining than a more straightforward approach would've. So while this isn't the prettiest film to look at, the cinematography is more than just functional.

The score is dealing with similar limitations. There's a rock aesthetic that feels a little out of place, and the sound design could've used a bit of tweaking and pushing to offer more support, as some scenes lack a little sonic padding. But the music that is there does its job well and aptly builds up tension within chosen scenes. So even though the stylistic choices aren't perfect and leave room for improvement, the intentions are commendable, and Dupontel ultimately gets what he wants out of them. At the very least, it demonstrates a vision, which is something I'll always appreciate.

Dupontel didn't just direct the film, he also took on the lead role. That's always a gamble, but I think that was the smart thing to do here, especially considering how offensive and unlikeable his character is (despite being the "hero" of the story). It's much easier to embody such a character yourself than to direct someone else to do it. The rest of the cast is good too. Their characters are equally unlikeable, but they get the benefit of operating in Dupontel's shadow, which makes it a tad easier for them. I think the performances were on point, but I'm sure not everyone will appreciate them.

The first third of the film is a little tame and tentative. Dupontel is fleshing out the premise and introducing characters and setting, but he isn't attacking it at full force. It isn't until the midway point that it becomes clear what's being served, turning it into a "no holds barred" type of film. It's a make it or break it moment, where some people will surely lose interest, while others will get fully on board with Bernie and get comfy for the second half. From that point on, the film ventures into uncharted territory and does whatever it pleases, which I could only applaud.

Bernie is a film that survived the test of time by being excessively crude, funny, and baffling, all at once. It's made for a specific group of people. This isn't the kind of film that would garner a big cult audience, but if you feel you're part of that audience (and if you are, you'll know), it's one of those films that cannot be missed. The presentation is a tad unpolished, but deliberate, the comedy is ruthless but surprising and funny, and the overall experience is like nothing else out there. It's one of my favorite rewatches in a long time, and I was elated to have rediscovered this film. Just be wary that it's rough around the edges by design.