THE INTERNAL MONOLOGUE (THE BILLY BROWN METHOD)

VINCENT GALLO’S ‘BUFFALO ’66’ IS A VISCERAL PORTRAIT OF A MAN UNRAVELING. RELEASED IN 1998... IT IS A RAW EXPOSURE OF THE MALE EGO. BILLY BROWN (GALLO) IS A MAN RELEASED FROM PRISON INTO A WORLD THAT NEVER WANTED HIM. IN A DESPERATE BID TO IMPRESS HIS MONSTROUS PARENTS, HE KIDNAPS A YOUNG TAP DANCER (CHRISTINA RICCI) AND FORCES HER TO PLAY THE ROLE OF HIS LOVING WIFE. IT IS A FILM ABOUT THE FRAGILE NATURE OF MALE RAGE AND THE TERRIFYING POSSIBILITY OF REDEMPTION.

THE ANATOMY:

GALLO’S DIRECTION IS NARCISSISTIC, CLAUSTROPHOBIC, AND BRILLIANT. HE SHOOTS ON REVERSAL STOCK, GIVING THE FILM A GRAINY, HYPER-REAL TEXTURE THAT FEELS LIKE A BRUISE. THE CAMERA DOES NOT JUST OBSERVE BILLY BROWN... IT TRAPS HIM. RICCI’S PERFORMANCE IS A MIRACLE OF STILLNESS. SHE IS THE SOFT, LUMINOUS ANCHOR TO GALLO’S MANIC VIBRATION. THE FAMOUS “PHOTO BOOTH” SCENE IS NOT ROMANTIC. IT IS A STUDY IN DESPERATION... TWO BROKEN PEOPLE TRYING TO MANUFACTURE A MOMENT OF PERMANENCE IN A DISPOSABLE WORLD.

THE ECHO:

BILLY BROWN IS THE ULTIMATE DECONSTRUCTION OF THE “TOUGH GUY.” HE IS PETULANT, WHINY, AND FRAGILE. THE FILM EXPOSES THE HARD EXTERIOR OF MASCULINITY AS A PAPER SHIELD HIDING A SCARED CHILD. IT REMINDS US THAT ANGER IS OFTEN JUST GRIEF THAT HAS NOWHERE TO GO.