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I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry fix…

These are the first words to Howl, the best known poem of “Beat Generation” writer Allen Ginsberg (1926 –1997) and the subject of a silver screen dramatization starring James Franco as the Pulitzer Prize winner.

Co-directed by two-time Oscar winner Rob Epstein (The Times of Harvey Milk and Common Threads: Stories from the Quilt) and Jeffrey Friedman, who received a 2001 Independent Spirit Award with Epstein for Paragraph 175, Howl begins in 1955 as Ginsberg nervously collects himself before delivering his poem for the first time.

This initial black-and-white scene is one of four parts as the film wildly jumps around between animation resembling a Heavy Metal cartoon jammed with sexual imagery, a bland court room where Howl’s publisher is involved in an equally bland obscenity trial, and a modest apartment where Ginsberg is interviewed in 1957 by a faceless reporter.

The common thread throughout is the words to Howl, whether it’s Franco reciting them, the discussion in court about their potential meaning, or Ginsberg recalling what inspired him to write them in the first place. Unfortunately, because Ginsberg’s work is so thoroughly explored, the film causes little inspiration for debate after the final credits have rolled past.

While the court room scenes are like watching paint dry, they do demonstrate the fact that when elements of society attempt to censor a small voice in the wilderness it has the effect of sparking a wildfire of interest from a suddenly broader audience, even when that voice is an attack against capitalism and conformity.

Even though there are several recognizable faces during the court scenes, like David Strathairn and John Hamm as the prosecuting and defense attorneys, respectively, it’s Franco who dominates the camera time. With abundant hand gestures, drawn out words and other nuances, Franco captures Ginsberg’s personality even if he does sometimes resemble James Dean. It’s not Oscar-caliber but it’s a solid piece of acting nonetheless.

Howl should appeal to diehard Ginsberg fans. Beyond that it’s a question mark. New generations seemed to be more motivated these days by what’s new on X-Box and iPod than any new literary works much less ones published 55 years ago.

On a letter grade scale from “A” being excellent to “F” for failing, Howl receives a C+.

Howl is rated R and has a running time of 90 minutes.

Now showing through October 28 @
Tivoli Cinemas
Westport Manor Square, 4050 Pennsylvania, KCMO
Visit www.tivolikc.com or call 913-383-7756 for more information.

By Michael D. Smith

Indie Film Editor

Michael D. Smith earned a Bachelor of Arts in history at College of the Ozarks in Point Lookout, Missouri followed by a Master of Arts in history at the University of Missouri-Kansas City.

Inspired by such critics as Gene Siskel and Roger Ebert, Michael started reviewing films in 1992 for College of the Ozarks's student-run newspaper. After returning to the Kansas City area in 1994, he continued film reviewing by writing for the Cass County Democrat Missourian in Harrisonville.

In 2000 Michael joined Sun Publications in Overland Park, Kansas where he served as its film critic and Arts and Entertainment Editor. During his tenure there, he was also the film critic for the "Fine Arts Radio Hour" and "Celebrity Scoop" radio shows on KXTR. After leaving the Sun in late 2002, he became the A&E writer for the Olathe News in Olathe, Kansas. He also worked as a freelance writer for The Squire in Leawood, Showcase Publishing in Lake Ozark, Missouri and the Kansas City Star.

Michael is currently a member of the Kansas City Film Critics Circle, a professional film critic organization established in 1966 by the late Dr. James Loutzenhiser.