photo by nacrowe
ever since i saw GREGG ARAKI's stridently apocalyptic THE DOOM GENERATION (DESPERATE PICTURES, 1995) film in high school i was a fan of ROSE MCGOWAN. she really seemed to exude an inner confidence that manifested in her physical being. and really that was read on her throughout her early career. that she was this impossibly beautiful, no bullshit force of nature.
in her recent memoir BRAVE (HARPERCOLLINS, 2018) that was released in the aftermath of the #METOO and #TIMESUP movements that had a long overdue cascading effect on the male-dominated AMERICAN entertainment industry, MCGOWAN eviscerates any notion that HOLLYWOOD is not a cult that we are all subservient to in one fashion or another. and she should know, being raised as a member of CHILDREN OF GOD as a child in ITALY, escaping and then living broke on the streets with no security system until being plucked out of obscurity by a production assistant.
for me, her life details were only interesting in that they empowered her overriding thesis that any system (whether they be political, religious, regional or even personal in nature) which demeans our individual sense of identity and self-worth is inherently destructive and should be eradicated. in her case, this focus of her ire is the entertainment industry and the networks of supplicants that allow power-brokers to go on unchecked in sexually assaulting young women as had been done to her by (now newly convicted) HARVEY WEINSTEIN of MIRAMAX/THE WEINSTEN COMPANY notoriety. it wasn't just that she was raped by an influential producer of OSCAR-nominated films who subsequently black-listed her, it was also the fact that other managers, co-stars, agents, producers, directors, etc. knew about her situation (as well as other similar victims) and did nothing in fear of upsetting the apple cart. some, like former partner and director ROBERT RODRIGUEZ even had her reenact her trauma in his PLANET TERROR (DIMENSION, 2007) film.
i share her disdain for an industry that routinely cannibalizes itself. i also greatly admire her sense of courage in relating her story, even as such no doubt will expose her to professional retribution in loss roles. but i doubt she cares about that anymore. she is on a new powerful path of advocacy for the exploited. perhaps my initial reading on her was correct.
one of the really prescient observations MCGOWAN makes in the book is how as consumers of the media, we are all susceptible to its messaging. all of us. whether we consciously reject or acquiesce to it matters not at all. as a member of a media-consuming population we are inculcated with belief systems and biases that are deep at root in our ability to self-define who we are as individuals and our role in society. she takes ownership of her role in that "cult" she describes us all being subject to. i respect her for that.
artwork by nicholas crowe
a singular obsession of mine growing up were the films of GREGG ARAKI, specifically THE DOOM GENERATION and NOWHERE of his "teenage apocalypse trilogy."
it was a definite introduction to the idea of film as a lucid dream; where dialogue, cinematography and music were utilized to create an intensely hyper-real, almost-cartoonishly dramatic bastardization of teenage reality that almost felt fresh at the time and seems now prophetic in today's manic, digitized technocratic hellscape.
and thats before mention of his soundtracks, which showcase ARAKI's longstanding championing of all things SHOEGAZE. bands like CATHERINE WHEEL, SLOWDIVE, COCTEAU TWINS and LUSH among other alternative music from the period were a pitch perfect aural backdrop for his ADHD-adeled narratives.
i highly recommend both films, which are audio-visual rollercoasters as well as having several quick blink-and-you'll-miss cameos from the likes of SKINNY PUPPY, MINISTRY, PERRY FARRELL and MARGARET CHO among others.