Honey Full Movie Part 1
Directed by Bille Woodruff. With Jessica Alba, Mekhi Phifer, Romeo Miller, Missy Elliott. Honey is a sexy, tough music video choreographer who shakes up her life. A funny list porno movie names. A Beautiful Behind Womb Raider Schindlers Fist Shaving Ryans Privates. D_rEd1vVk/hqdefault.jpg' alt='Honey Full Movie Part 1' title='Honey Full Movie Part 1' />
American Honey s Silent Youth The New Yorker. Few movies about teen age girls are dramas. Many are comedies many more recent ones are post apocalyptic survivalist fantasies and, for that matter, horror films. Teen comedy, meanwhile, has migrated away from Hollywood and toward shorter bits on television and online. There arent many naturalistic dramas about teen agers, especially not many centered on young women, which is why Andrea Arnolds American Honey is intrinsically distinctive. Much of the divide between teen comedy and drama is economic the comedies depend largely on a sufficiency of money the drama of drama is fuelled by its lack. That difference, however, isnt the same thing as distinctions of class, which bring, along with economic differences, a wide range of cultural markers that get inscribed into the movies. These markers show up not merely as objects that get filmed they often inflect the tone of the movies in particular ways. The struggle for money is a great source for drama just as the quest for money without struggle is a great source for comedy but matters of class can congeal quickly into stereotypes, owing as much to the directors approach behind the camera as to whats shown onscreen. American Honey s protagonist, Star played by Sasha Lane, who had never acted in a film before, lives in a squalid trailer park in Oklahoma. There, she takes care of a young boy and girl. On a trip to a store, she walks in on a scenea band of teen agers and young adults, led by an exuberant man with a devil may care attitude whose antics get him and the others thrown out of the store and threatened with arrest. In the parking lot, he invites her to drop everything and join the group as its members pile into a van her temptation is apparent as is her fascination with, even attraction to, the apparent leader. Later that nightafter enduring sexual abuse at home by a man she calls Daddyshe finds their mother at a bar, tells her to see to the two children, and heads off to join the troupe. Theyre itinerant magazine salespeople, and Jake Shia La. Beouf, the man who brings her in, isnt the bossthats Krystal Riley Keough, who travels not by van but by car, stays in her own motel room on the road, keeps the crew under tight control with stringently enforced rules, and keeps Jake, her best salesperson, as her lover on call. But Jake is also called upon to give Star on the job training, and in the course of their long wanderings together a strong and erotic bond develops between them, and they flout, with cavalier abandon, Krystals rule against members of her sales force having sexual relations with each other, as well as Krystals claim on Jake. American Honey isnt the first movie about a vanful of salespeople. The protagonist of Ronald Bronsteins Frownland, the seminal movie of recent New York independent filmmaking, also makes his living that waythough hes not a teen ager but an adult, albeit a seriously dysfunctional one played by Dore Mann, also appearing in his first film, who lives on his own and is driven, by van, to make day trips for sales calls in the New York area. Where Frownland is a story of degradation, American Honey is a story of at least partial liberationa struggle for independence in a situation of utter dependencyand Arnolds attention to the particulars of sales is the most absorbing and imaginative thing in the film. As Jake and Star stride from house to house, he teaches her the tricks of his own trade, explaining that the others on the crew devise a single story for themselvesa fiction about their lives and their goalsthat they use as their unvarying sales pitch, and that either hits or misses, and that they deliver in a way that rapidly devolves into a dull routine. Jake, by contrast, relies on a spontaneously inventive approach, instantly sizing up his customers and telling them the story that he thinks they want to hear. It works for himhes the star seller of the groupbut Star, speaking not on the basis of any apparent experience with sales but merely from the heart, says that her plan is simply to tell the truth. The truth of her truth, though, proves to be something altogether more inspired and more audacious before delivering her sales pitch, she boldly creates a situation, even a relationship, that renders her customer receptive to hearing the truth. The metaphorical power of the sequence that sparks the exchange, and Stars own preternatural ability to wander into a vague setting and crystallize it with her presence and her wiles, to transform it into a risky living drama that enables her to make a sale, is both a superb metaphor for acting and an existential view of the transformative yet manipulative power of business itself. Theres a latent Horatio Alger story built into Stars bold and spontaneous ingenuity. The notion gives rise to the best scene in the film, an extraordinary moment in which Arnolds naturalistic observation veers toward a Lynchian nightmarish absurdity. Leaving Jake behind, Star hitches a ride in a flashy car with three middle aged men in identical white cowboy shirts. They take her to a sumptuously splashy rural house and prepare a good ol cowboy barbecuewhile getting Star drunk and talking provocatively. Without actually doing anything abusive but nonetheless terrifyingly flaunting their power and experience, they also jovially and profligately respond to her sales pitch and virtually throw money at her. The troubling and complex scene brings vividly to the screen the idea thats latent in Stars brave sales strategy the lifetime of improvisational experience facing, dodging, and, when possible, manipulating mens desire as a survival method in a harsh and destructive family and milieu. The idea of performance arising as a response to oppression is mentioned by Nietzsche he refers to the poor, to Jews, and to women. This scene could almost have been a movie in itself, if Arnold had let it play fully. Instead, the inspired vision yields quickly to the lockstep of plotand gives rise to the worst, vaguest, least plausible sequence in the film, a confrontation that results when Jake turns up to retrieve Star. Without spoiling the specifics, the scene becomes a mere genre piece, a seeming advertising symbol for a generic kind of outlaw freedom on the open road that both breaks the texture and substance of the film and, more important, highlights the fundamental misconception on which the film depends. The movie doesnt share Stars point of viewrather, it follows Star, but deprives the viewer of her thoughts, her knowledge, her past, her mind. For example, is the man she calls Daddy her father Is the childrens mother hers as well Who are they to her Is the instance of abuse thats shown onscreen a new turn of events Star knows, of coursebut the viewer doesnt. Likewise, Arnold fills the movieand, especially, the crew of teen age salespeoplewith actors who all bear visual markers of authenticity. For most of them, its their movie dbut. Whether with big earrings, big tattoos, grungy clothing, stringy hair or streaked hair, unadorned complexions, or nontheatrical voices, they seem like theyve been transplanted directly from hardscrabble settings into the movie. These actors are fine in their roles, but their roles are grossly attenuated. Like Star, they are deprived, by Arnold, of discourse. Not one has an identity, a background, an inner life reflected by experience. In place of dialogue, the movie uses lots of pop songs on the soundtrack the teens dont even have much to say to one another about the songs, but are peculiarly ecumenical in their choice of music and blankly accepting of whatevers playedjust as theyre inexpressive about themselves, their surroundings, their experience. Watch Carry On Screaming! Online Hollywoodreporter.