Poetry in Motion
And then came Supercross: The Movie, the long-
Boyum, with the personal appreciation of the depths of psychic and physical pain to which a man can descend his life of stunting has afforded him, may, perhaps, have been the only filmmaker capable of transferring to celluloid the levels of suffering and torment to which we are witness here. Oh, the hotblooded rivalry of brothers Trip and K.C. Carlyle has never been given such agonizing expression as it is in the hands of Boyum and his cast, the astonishing Mike Vogel — who recently devastated audiences in the Royal Shakespeare Company’s production of The Sisterhood of the Traveling Pants — as Trip, and the stunning Steve Howey — late of the Royal Academy of Dramatic Arts’ staging of Frankie Muniz HoopLA Celebrity Basketball Event as well, of course, of American Playhouse’s Reba. Boldly, Boyum elides over the orphaned state of the young men, which Shakespeare made such to-
Of course, entire tomes have been written about how these dual, and dueling, father figures variously nurture and abuse the trust, talent, and audacity of their new charges: Sparks, of course, twists K.C.’s lust for glory and fortune by bestowing upon him a fully sponsored “factory ride” on an American Nami bike and then thwarting the young man’s ambitions, manipulating him into the role of supporting “wingman” for Sparks’ champion rider son, enabling his wins at the expense of K.C.’s own. Earl, contrarily, defiantly supports Trip as a “privateer,” an independent racer, one without corporate sponsorship. (Cleverly, Boyum imbues his film with ironic commentary on the nature of big-
Thankfully, Boyum does not neglect that pair of female characters that are probably Shakespeare’s most well rounded: Zoe Lang (Sophia Bush: The Papp Theater’s Van Wilder) and Piper Cole (Cameron Richardson: The Kennedy Center for the Performing Arts’ National Lampoon Presents Dorm Daze), who serve, respectively, as the intelligent and sensible guides to K.C. and Trip, whispering wise words in their ears, guiding these lost and desperate young man to, finally, a level of maturity that befits them. But none of the characteristic Shakespearean romantic comedy is lost in the seriousness with which all involved approach the telling of the tale: Richardson’s delivery of that famous line, “Typical guy — when it comes to the real thing they’re like, Huh?” as she removes her chemise before a goggling Trip is, I promise you, like nothing you’ve seen before.
Oh, the language! “I love your hunger — you’re like a rabid dog!” exclaims the villain-
You’ll see no more sublime moments on film this year, and likely not for the foreseeable future, either. It’s that… indescribably unspeakable.