WATCH THE TRAILER HERE
First, the Recap:
An acceptance of realities and the concealment of providence. When walking through life, we all have our dreams to achieve, magical scenarios where everything we’ve ideally wished for comes to pass. Yet, how often, sadly, do things not exactly go the way we hoped? Not wanting to give in despite so many factors showing us that premeditated plan just isn’t manifesting, might it not simply be the revealing of a larger, more fulfilling purpose? Sean (Michael Collins) was precisely one of those dreamers when he came to Hollywood. Now finding himself not only destitute but also strangely, almost literally, alone in the world, the truths he will come to find out upon meeting Carla (Balta Monkiki) and the subsequent, somewhat surreal odyssey he ends up encountering, will not just shake him to the core, but present something far grander for him to accomplish.
Next, my Mind:
This critic always aims to stand on the principal that when it comes to indie cinema, STORY and CHARACTERS are king, regardless of what level of filmmaking we’re talking about. So, in view of this notion, the newest feature film from writer/director Steve Helgoth, producer Michael Collins, and executive producer Frayne Rosanoff carries itself off with just this in mind, delivering a solidly executed, slow-burn effort that homes in on central concepts centered around an ode to recent world events, what it is to live in isolation and fear, and the potentially devastating impact this can have societally unless addressed in a more proactively constructive way through actual leadership via someone being able to rise above the circumstances and take charge, even if reluctantly at the start. In many respects, this film feels mainly satirically dramatic more than anything else, but that I felt was the intent, especially given the underlying relevance of the story’s core heartbeat.
Contained within a narrative that see a man finding himself on a precipice in life, in desperate need of deeper answers to the initially enigmatic dilemma he finds himself in, while already suffering the indignation of seeing his original ambitions shattered (at quite a personal price when he looks back), what’s intelligently worked here IS that ever-common idea of both the American and Hollywood Dream being present then stolen getting molded into a grander, highly relatable, timely, still fully credible statement about just how much all of this has been perpetrated by the scope of a globally transformational event. Then, mix in equally truthful thematic points focused on how fear’s effect is utilized to such varying degrees whether forced or understandable, conspiracy theories, governmental failures/cover-ups, who’s to blame, and the plight of those who feel left out in the cold mingling with more individualistic explorations of what we keep inside us, letting go of the past and inward pain, our WANT of others and their support, seeking guidance, and discovering that we CAN be more than we think while becoming a vehicle for change. This amalgamation makes the finale speak of release, revelation, healing, inspiration, and moving forward.
It’s about finding sources of TRUST again, a DIRECTION to go, and the HOPE that things WILL get better while also experiencing new avenues that could FINALLY bring us the success we desire. Again, given the underlying but importantly foundational wellspring occurrence the narrative employs as its muse, this film is, in my opinion, a uniquely different approach to illustrating the ways it has altered us, our aspirations, being knocked down hard but then gaining the ability to overcome and grow, and obtaining a resolve to BE more and ACHEIVE more out of it. Visually, the film is very effective in creating the atmosphere of remoteness, both personal and societal, necessary to carry this story off, initially relying on imagery and music alone to convey loneliness, loss, quiet desperation, regrets, reminiscing, and poor choices. Some classic Hollywood landmarks are deftly woven into these visuals as well to further immerse us in it. I felt, as the film’s title suggests, that it also represents a greater statement about how our current reality within the entertainment industry has been so drastically transfigured thanks to a certain happening in 2020 and beyond. NOTHING is what it once was, and being able to move ahead continues to be paramount.
Collins delivers a believable and consciously, wholly resolute, affectingly understated performance here through his role as Sean, a man who’s come to realize that all the plans he sacrificed much for have not only faded away while in Hollywood but have left him internally desolate and incomplete. Attempting to determine what his next steps should be while simply, barely, surviving, he is confronted with an additional, unnerving realization his solitude is somewhat more widespread than he thought, sending him on a quest for answers that not only reveal the larger scope of what he is to face, but will utterly break down, reconstruct, and ultimately revitalize his entire outlook on the world, who he was, is now, and will possibly become. Whether he chooses to then step out and up into this new position is what he then must resolve in his mind based on those he connects with, and Collins makes the journey realistic and identifiable enough to easily root for the character to find his place in a constantly reforming actuality and follow his destiny.
Monkiki follows suit with a likewise tangibly relatable, well-played performance via her role as Carla, one of the first people Sean is able to directly connect with and who becomes his guide, and possibly more, to the confusing and confounding world he now finds himself immersed in. With her steady, composed, confident, and charming charisma in hand, Carla does her best to help Sean realize his potential even as she may or may not be what she seems. Primary supporting roles arrive via Carey Embry as Albert, a devout spiritualist and one who may have a much deeper level of precognitive ability when it comes to following Sean’s travels and the part he will play in it, Martell Randolph Rutter as Martell, the head of a cult-like group who become one more piece in Sean’s development as a person while offering a needed boost in the path he is hesitant to take, and Marko Karovic is Tobias, who also plays a pivotal role in Sean’s emergence. Bryan Staggers appears via flashback as a friend of Sean’s who supported his choice to follow his heart to L.A., even at the cost of other elements of his life. Daesha Lynn is key to this tale as well in a brief but integral turn that I won’t disclose as it would venture into spoiler territory.
Additional supporting appearances are made by Jerry Hines, Lukas Kowalko, Damian Martorana, Anthony Pascale, Cassie Carpenter, Nancy Barragan, Victoria Elder, Sara Roodbari, Roz Baker, Wyatt Gardner, Tiffany Vo, Madie Pope, & McKenzie McClelland. So, in total, “Say Goodbye To Hollywood”, being both literal and emblematic in its title on multiple levels, proves that outward simplicity in look, intentionally measured building of a narrative, and grounded characters is so often what makes an engaging piece of indie cinema with a message. Here, it reminds us to NOT live in fear but rather conquer it, LEAN on those sent into your path to guide you, LET GO of mistakes, STAND FIRM for your convictions, BE OPEN to unexpected roads, and TAKE A FRESH CHANCE–because you never know what the stars might have for you that is SO far above and beyond what you could ever have anticipated or obtained on your own.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
