alternative medicines
by Douglas Messerli
Craig Borten and Melisa Wallack (screenplay, based on a newspaper article by Bill Minutaglio), Jean-Marc Vallée (director) Dallas Buyers Club / 2013
French-Canadian director Jean-Marc Vallée’s Dallas Buyers Club received almost universally rave reviews—at least in the newspapers and magazines I regularly read (The New York Times, Los Angeles Times, The New Yorker, and LA Weekly)—and actors Matthew McConaughey and Jared Leto both won awards at the Hollywood Film Awards and other film festivals. It is highly likely that both McConaughey and Leto will be nominated for Academy Awards as well.
But let’s be honest, the likeable film’s story-line can only be
described as “slight.” Not in its subject matter, given the gravitas of the
AIDs epidemic beginning in the 1980s which killed thousands (I myself might
have perhaps been a victim had it not been for luck and my meeting my
life-companion at age 23), but in the sparseness of its tale. Given its most
serious subject-matter, one might have liked to see, in this case, a bit more
political complexity, linking the central characters’, Ron Woodroof
(McConaughey) and the transgender Rayon (Leto), with the plights of thousands
throughout the country who died simply because US government leaders and the
FDA did not choose to act, in part because the disease was most prevalent, a
first, within the minority, homosexual community. What really happened in those
early years, and to a certain degree for years after, was a kind of unspoken
genocide, with President Reagan himself, dismissing any further “action,”
refusing to speed up clinical trials and to fund alternative possibilities.
Certainly, one can understand why the director chose not to focus on the
larger issues, preferring to burrow down upon his central figure to tell his
particular story that might stand as a symbolic yarn of the experience of so
many others. But the strategy, nonetheless, lessens the power of his final
product.
As it stands, Dallas Buyers Club
is less about the issues it raises as it is about the characters upon whom it
focuses: a homophobic, Texas “good ole boy,” whose believes fucking, drinking,
and bull-riding represent what he describes as “a normal life,” and Rayon, a
frightened and unhappy “Miss Man”—as Woodroof describes her—a transgender
drug-addict. Both, in the last stages of AIDS, are extremely anorexic and in
their unsteady and constantly angular movements devour the screen, almost
swallowing up the good, if not excellent, performances by Jennifer Garner as a
doctor tending briefly to Woodroof and Rayon, and Griffin Dunne as the
disbarred American Dr. Vass, now working in a Mexican clinic.
Hollywood loves matinee performers who suddenly begin playing against
type to reveal their acting skills, which McConaughey has doggedly accomplished
in his last several movies (Bernie
[see my review in this volume], Killer
Joe, Magic Mike, and Mud) and to
which Leto has devoted most of his erratic cinema career. And in this film,
both are quite memorable, and, despite their almost skeletal frames, both are
still quite beautifully chiseled beings, without either of them being truly
“great” actors. Leto, for example, was far better in Mr. Nobody, and it is clear that McConaughey, if he continues in
such challenging roles, might develop into a remarkable artist.
Yet these criticisms are minor ones given the depth of both actors’
performances in this film. Vallée’s camera is obviously in love with its
would-be cowboy, who suddenly discovering that he is HIV positive and has only
30 days to live, violently and resolutely reacts, proclaiming simultaneously
that he is no faggot and he does not intend to die. Although the man, at times,
cannot even stand, his amazing stamina and pluck transform him almost into a
Beckettian character who, although he cannot go on, will and must. Turned down from an AZT drug trial
at the local Dallas hospital, Woodroof bribes a hospital janitor to obtain the
drugs, which he swallows down like aspirin with swigs of liquor. The high
dosages he takes nearly kill him, as he gradually comes to comprehend—particularly
after a visit to a Mexican clinic, whose Dr. Vas explains that AZT is toxic,
killing not only bad HIV cells, but all cells with which in comes in
contact—that he must seek another, less toxic regimen of anti-viral drugs
unavailable in the US. Somewhat cleverly, Woodroof takes on several different
identities (that of a priest and a doctor) to smuggle the drugs in. But the FDA
Administration is always on his trail, and many of his attempts, as he sees it,
to seek out a way to save his own life, are foiled.
Sexually impotent from his disease and drugs, surviving simply from day
to day, Woodroof, meanwhile loses the friendship of his equally homophobic
buddies, and we see the palpable loneliness upon his face. In that condition,
Woodroof’s character begins a transformation that is at the heart of his story,
reading books and essays about the disease, checking up on the medicines being
used to help patients in other countries from the Netherlands and Mexico, to
China and Japan. If this is perhaps a bit unbelievable (although based on a
true story), it helps us to understand his sudden commitment to others. If his
sudden social interactions begin as a mercenary attempt to simply get enough
money to survive, as he establishes the “Dallas Buyers Club,” selling
memberships for $400 a month during which he will provide each member a cache
of “helpful” drugs, it gradually grows out of his loneliness and through his
research, into a kind of social mission, aimed against the greed of drug
companies and hospital executives such as Dr. Sevard (Denis O’Hare), who is
obviously lining his pockets with drug company solicitations. Moreover, to
reach a larger, gay and transgender audience, he takes on Rayon as a partner,
before long, moving into connecting motel rooms in which they set up a well-run
drug dispensary.
Without Woodroof even quite perceiving it, his homophobia begins to be
worn down simply by his everyday encounters with homosexuals and, in
particular, with the fragile yet street-tough Rayon. A true relationship
between the two begins to evolve, she challenging his macho vision of himself
by plastering pictures of herself upon the wall to which he has posted buxom
heterosexual women, and he demanding, when the two encounter an old buddy in a
supermarket, that Rayon be properly greeted. Although, the cowboy is still all
rough edges and politically incorrect by calling Rayon “he,” his heart is
suddenly in the right place. And at one magical moment, despite his
recalcitrant bigotries, he hugs her in what definitely appears to be a
protective love.
Her death and Woodroof’s violent reaction against the hospital director,
finally draws Dr. Eve (Garner) out her protective shell, as she realizes the
destructiveness she has been allowing through her patients’ AZT tests. Soon
after, she is asked and refuses to resign.
We all know how it must end, as it did in so many parts of the country
where such buyers’ clubs had sprung up. The FDA swooped down upon dying
individuals as if they were vultures, refusing to allow any possible hope and
respite to which these living-dead people might have clung. Woodroof, now a
survivor for several years, refused to give up, suing the governmental
organization in a San Francisco court (the result from a Texas court would have
been a foregone conclusion). The tortured judge renders the only verdict he
can, it is against the law, unfortunately, to import or sell drugs not approved
by the FDA—while he simultaneously berates the FDA for its assaults upon dying
Americans. Woodroof was ultimately allowed to take his drugs, but not permitted
to sell them. And his defeat is lovingly recognized by all his supporters as an
incomparable act of bravery.
In the last shot of the film, the cowboy returns to the back of a bull,
shooting out of the pen with unimaginable grace, his thin frame flexibly moving
against the jerks of the angry animal. Through just such survivalist tactics,
Woodroof extended his life from 30 days to 7 1/2 years, surely a miracle of
sorts. And so has McConaughey, by bravely taking on this role, extended his
career, let us hope, by years and years.
Los Angeles, November 16, 2013
Reprinted from Nth Position [England] (December 2013).
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