Napoleon Dynamite

This little deadpan comedy came with a shockingly low budget, modest campaign, and the intuitive mind of Jared Hess. We review an underground hit.

Every once in a great while, a movie sneaks up and blindsides critics and film fans alike, utilizing its surprising charm and flair to steal viewers' hearts. Napoleon Dynamite is one movie that finds success by doing exactly the opposite: presenting a brutally frank and realistic depiction of "geekdom" without being pitifully condescending. The film originally premiered as a favorite at the 2004 Sundance Film Festival and then opened the 2004 U.S. Comedy Arts Festival, where it went on to win the highly revered Best Feature Film award.

The movie is comprised of a series of almost entirely random events, played to near perfection by a cast that accepts their roles wholeheartedly, giving the viewer a sense of down-to-earth realism that is most unique. The problem with many films of this nature is that it overplays its hand, presenting us with absurd characters only loosely based on stereotypes and stigmas, and ultimately culminating with a warm and fuzzy, yet completely unbelievable, climax. Napoleon Dynamite walks that fine line between pandering and boring, teetering a bit in the middle, but eventually emerging with a truly glossy veneer.

Jon Heder, who was only just recently hitting the books at Brigham Young University with director Jared Hess, makes his acting debut as the main character, Napoleon Dynamite. Heder delivers a low-key, monotone performance that captures the essence of Napoleon very nicely; he's the guy in school that all of us remember, whom many of us can identify with, which makes his actions and dialogue all the more hysterical. The nostalgic allure of the movie is undeniable, but what makes Heder's performance especially solid is the fact that he's both unassuming and oddly likeable.

The surrounding cast includes fellow BYU student Aaron Ruell as Napoleon's brother, Kip, John Gries, who plays Napoleon's ultra-vain, stuck-in-'82 Uncle Rico, and Efren Ramirez as the new student in town and Napoleon's new best friend. The characters all come together to form a cohesive unit; an immersive environment for the viewer to lose themselves in. Without this foundation of talent, the movie goes nowhere and falls on its face due to a complete lack of believability.

As we follow the story of Napoleon Dynamite, we can't help but root for his survival. For those of you who may remember movies like "Revenge of the Nerds," you may recall the ridiculous nature of the plot; in reality, the nerds simply don't win (at least, not until after graduation). One of the most alluring factors of this film is that it stays within its means, it understands Napoleon's situation and goes so far as to provide the best ending possible while maintaining a distinct semblance of reality. There isn't a better way to present these characters or the story, which is a definite feather in Hess' cap.

In truth, the story almost plays second fiddle to the characters. There is an understated love story combined with a story of heroic triumph, defiant in the face of unpopularity, and we find ourselves switching gears after about an hour. This makes for a slightly disjointed presentation, but we only vaguely notice the small break in the flow. The only other significant issue involves the screenplay, which may not contain enough big laughs to keep the attention of a less-than-involved audience member.

The cinematics are clearly low-budget, but that fits with the film. There are virtually no special effects to speak of, and in truth, any cheap camera tricks would just about ruin the overall effect. The entirely flat and sparsely populated region of backcountry Idaho lends itself to a certain indefinable charisma. And although there aren't any explosions are anti-gravitational stunts, there is some fine camera work on display in the movie, and the production as a whole is shot very, very well.

Either you get this kind of humor, or you don't. It's as simple as that. If you don't, you will have difficulty finding anything to really laugh at, but if you do, you may not ever stop laughing. Make no mistake, this isn't the over-the-top and campy humor of a comedy like Dodgeball; in fact, Napoleon Dynamite is almost the exact antithesis of Dodgeball. If you want to see a subtle and finely crafted film, driven more by outrageously strange dialogue rather than slapstick, you should check out Napoleon Dynamite.

In the end, I will recommend this movie to anyone who even believes for a second that they might be able to identify with the kind of humor illustrated in the previews. Chances are, if you laugh at the opening scene, you're going to laugh at the entire film. The best part? The underlying themes in the film really do mean something, but it never goes beyond the limits of frankness and reality - and that is a remarkable achievement.

Ben Dutka
Contributor, Kikizo Movies