Ghost World, the film based on a graphic novel of the same name, is a masterpiece. On every level. It is also a very American masterpiece. When our protagonist, Enid, says: “He’s the exact opposite of everything I hate," the film establishes its credo – it is designed as valiant reaction to mainstream American culture of consumerism.
Terry Zwigoff is one of a painfully few Americana directors who reject the status quo. His teaming up with the graphic novel creator Daniel Clowes came as no surprise. Both embrace the unheralded, the odd, and the weird but wonderful. In Ghost World, he gives a platform to those who are disgusted with obviousness. He embraces an endangered species of those Americans who seek an alternative to blandness and total conformity. Enid is just finding out there are options out there to develop your own personality. But the system is rigged from the get go. It takes a truly desperate effort to assert yourself on this planet. Enid's path to individuality becomes a mini revolution. And, like all uprisings, it comes at a cost. The beautiful paradox of the Zwigoff/Clowes film is that it reminds us that the good ol' US of A came out of a revolution whose goal was to assert an individuality of a very young nation. Somewhere along the line, in the ensuing 200 years, those ideals became distorted, abused, and redefined to create a world of automaton ghosts.
Zwigoff is exceptionally good in creating a visual representation of his world. Cinematography, set design, costumes and props all contribute to his nostalgically inclined vision. If you were impressed with the art direction in Pixar/Disney's Soul, you will understand where they got their ideas from. The very last scene of Ghost World will haunt you with its beautifully wistful imagery – recalling the eerie nocturnes of Edward Hopper.
The acting is off the charts, especially Thora Birch and Steve Buscemi. But there are no weak links in the supporting cast. Also, the soundtrack offers a magnificent compilation of mostly rare cuts from way back – all as far removed from consumer-driven flavours as possible.
The film is also very droll, but it uses its humour without condescension. It is carefully crafted to respect all ways of life, with a possible exception of those who display pretence. The filmmakers reserve their gentle ridicule for an art teacher (Ileana Douglas, absolutely killing it):
There are many different ways we can express ourselves.
We can do things like these cartoons that are amusing...
as a sort of a light entertainment...
Or we can do work that is more serious...
in scope, in feeling, and that deals with issues –
emotional, spiritual, political... of great importance.
Sometimes a comic book or a graphic novel, with all of its "amusing cartoons" and "light entertainment" can nail the essence of a great many things. Ghost World, both the graphic novel and the film, achieve just that – a portrayal of a charming, curious, and openminded fraction of America we all wish was the norm, not an exception.
P.S. Do yourself a favour and set an afternoon aside for a double feature:
Ghost World and American Splendor (2003). Both are a saving grace in the world of comic book film adaptations.
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