The Narcissist And His Lover
Neither an atrocity nor a revelation, "The Brown Bunny" is a very watchable, often beautiful-looking attempt by the director Vincent Gallo to reproduce the kind of loosely structured mood pieces that found American and select foreign-language cinemas of the 1960's and 70's often at their most adventurous, with Monte Hellman's 1971 "Two-Lane Blacktop" the most obvious touchstone. Mr. Gallo plays Bud Clay, a motorcycle racer (and the title's symbolic bunny) on his way back home to Los Angeles from a New Hampshire meet. As Bud racks up miles, he stares moodily at the road, visits a childhood haunt, eats a lonely meal, sleeps a lonely motel sleep, takes his motorcycle for a spin and exchanges small talk with a few women, all of whom have the soft, bruised look of chronic disappointment. Eventually, Bud hits Los Angeles, where he checks into a hotel, and where yet another flower of femininity, Chloe Sevigny's Daisy, gives the film its back-story and furnishes what the porn industry calls, in rather more direct language, its economic raison d'etre. โ Manohla Dargis