Mojave Phone Booth

Review of “Mojave Phone Booth ,” directed by John Putch
Review By Jamie Sharpe
    

The Mojave Phone Booth gives audiences a look into the troubled lives of blue collar workers in Las Vegas who are struggling to get by – financially and emotionally.  Hope died for these characters long ago, but they are still trying to make sense of their realities and find the one thing that is eluding all of them – happiness. 

John Putch directs this film, and he proves that it is possible to produce a beautiful piece of work without big budget Hollywood theatrics and special effects.  Mojave Phone Booth focuses on the most important aspects of a movie – the story line, dialogue, and talent.  All of the performances are solid, and each actor explores different themes.  It is easy to sympathize with the characters because the subject matter is believable, even if the circumstances are far removed from the viewer’s reality.  The tone and feel of Mojave Phone Booth comes across as genuine and relatable whether an actor is dealing with a cheating lover, dishonesty, a failed marriage, or financial hardship.

Four vignettes are weaved together through fresh dialogue and well shot scenery.  The audience learns the sad stories of each character, one more depressing than the next.  The great irony is that none of these characters are alone.  They are all deeply connected through a series of events of which they are unaware.  Their attempts to reach out are fruitless, and it is clear that they are chained to oppression, perhaps, they even revel in it.

Annabeth Gish delivers a memorable performance as Beth, a distressed woman who is highly paranoid.  She is afraid of commitment and refuses to become too emotionally involved with men.  Her preoccupation with the mass amount of information recorded on strewn pieces of tape relates directly to one of the film’s central themes, connectivity.  She is seeking a link to anyone or anything that can not directly impact her own life.  She desperately wants to escape the loneliness of her existence, and the tape feeds her hope which satisfies her need to connect and eliminates the need for a meaningful bond with another person.

Tinarie Van Wyk-Loots plays Mary, a woman who is on the brink of disaster and is desperate for money.  Mary struggles with moral dilemmas, and she seems unable to break her cycle of doomed failure.  Her performance is not stand out, but the audience still feels for her.  Similarly, Richard is played by Robert Romanus, and he is believable as a pathetic loser who is incapable of understanding his wife.  He delights in watching recorded video footage of his life until he realizes that he never pleased the object of his desire, his wife, played by Missi Pyle.  Romanus carries the self-pity routine too far, and it becomes difficult to sympathize with his mistakes.

Alex, a lesbian losing her lover, is played by Christine Elise.  Elise gives a lot of heart to her character, which is missing from some of the other performances.  Alex works long hours, and she tirelessly tries to fix her relationship.  She brings a quality to the screen that is special – the viewer is instantly on her side, rooting for her to find happiness.  Elise’s emotions are edgy and complex, and her aspirations to hold on to fleeing love is endearing.  Her story reinforces the yearning for pleasure in life filled with futility.

The desire for companionship is the driving force that compels the characters to seek camaraderie from a stranger in a desolate area of the Mojave Desert.  Greta is the voice who calls the abandoned phone booth and reaches out to strangers that happen by.  Her mythical, almost God-like quality anchors all of these tragic souls.  Greta is unable to solve any of their problems, but the simple fact that she is willing to listen is enough.  She is a voyeur who likes to learn about the oppressive set of problems facing those on the end of the line.  She acts as a therapist who enjoys counseling, but she separates herself and is reluctant to reveal much about her life.

Mojave Phone Booth is shot in high definition using only 2 cameras which evokes a seamless quality.  Nothing is commercialized, and watching this film feels much different from viewing the blockbuster flicks that are mass produced without creativity.  The film’s gritty quality complements the plot, because it is consistent with the dark tone of the film.  Mojave Phone Booth is raw and evocative, and the complex themes are realistic and approachable.  Ultimately, Putch’s film rings true; it is a fascinating journey into complex human emotions and the struggle to connect with others.

Mojave Phone Booth, shot in HDV, won multiple awards at HDFEST 2006. For more information about the film visit www.mojavephoneboothmovie.com