Mala Noche
©2006 Sawtooth Film Company. All rights reserved.
Walt is a beat poet working as a corner store clerk in a rundown corner of Portland Oregon, who develops a crush on an illegal Mexican immigrant. By his own admission, Walt is doubtful that Johnnie even likes him, but he puts up with him, nonetheless. Theirs is a relationship that fulfils needs on either side: Walt pursues Johnnie sexually, and Johnnie receives freebies and other benefits from Walt.
Not comfortable being alone with Walt, Johnnie insists that his two friends accompany them when they meet. An unlikely friendship of sorts evolves among the group; at one stage, during Johnnie’s absence, Walt lovingly cares for one of the other Mexicans during an illness.
It is difficult to know whether the relationship between these people is exploitative or genuine. No sooner does it appear to be one type, then something will happen, and the relationships assume the opposite character. Perhaps all relationships are exploitative to some degree, in that, essentially, we all engage in mutually beneficial interactions with others, in order for both parties to have their needs met.
Along with the morphing relationships between the young men, is the issue of illegal immigration, and the Government’s attitude towards, and treatment of, people searching for a better life. It also makes it patently clear that illegal immigrants desperate for money not only take the risk of fleeing illegally to another country, but also engage in activities that are degrading in order to obtain much needed money.
Mala Noche ended up being an unintentional dogma film, largely due to considerable financial constraints. It was easier to shoot in black and white, than to pay to paint sets a different colour. They didn’t tend to use a tripod, because it was awkward to transport to location shoots for which the cast and crew could just fit into a station wagon. Because of their demands, stars were not only undesirable but impractical: they simply couldn’t afford them. And despite having devised an intricate storyboard (running to around five hundred pages), Van Sant usually preferred that the actors improvise, or at least have the scene shot without rehearsing. Locations were found on the day of shooting, and were selected fortuitously rather than planned, so no time was wasted on hours of setting up lighting. Spot lights were cheap and effective stylistically, carrying the black and white theme into the look of the film itself.
Subsequently, the film is a gritty work of great beauty. There is an authenticity and yet at the same time, a distinctive, arty style. Much of the film’s aesthetic is due to the cinematographer, who quit his job to work on the project and who, armed with Van Sant’s vision, managed to transform limited facilities into a work of art.