Critique: Film> Reviews.

"If you're going to try, go all the way."

-- Henry Chinaski (Matt Dillon)

There were various moments in Factotum when I thought I was watching Barfly all over again. That's hardly surprising, considering that both these films are based on the life of Henry "Hank" Chinaski -- the alter ego of prolific writer Charles Bukowski -- and his tendency to drink, gamble and pick up random women. There's a particular scene where Hank's mistress takes him into the off-licence and charges a bunch of drinks and cigarettes to the credit card of her ex-partner. This scene is a carbon copy of that in Barfly.

I don't particularly mind, considering that I enjoyed Barfly so much; it's just that Factotum feels unnecessary in places. Based on the novel of the same name, it tells the story of Hank, a writer who deals with numerous rejection letters from publishers, and has to take on a series of menial jobs just so that he is able to get by.

Hank has a passion for writing, even though he never receives any tangible rewards for his efforts. The drudgery of "real" work is another of the reasons why he can't hold down a job for more than a few days at a time. It's not that Henry Chinaski is lacking ambition; quite the opposite, in fact. He is confident about his writing abilities, which go way beyond the sleazy, run-down streets that he has to endure each day. Drinking and relationships with women are temporary fixes to his despair; a permanent solution would be to achieve some recognition for his creative talents, but the reality is people don't always get what they want.

Directed by Bent Hamer, Factotum is a bleak portrayal of the writing lifestyle. Hank's story is real -- not just as a depiction of Bukowski's experiences, but those of writers in general. There's a particularly memorable scene where Hank's boss invites him into the office to meet one of his friends, who is also a writer. The three men end up sitting in complete silence in a haze of cigar smoke, starring at the walls, not knowing what to say to one another. Those aspiring to see their name in print will achieve a sense of belonging, here, with the isolation of the writer identity, which is quite ironic considering that the film's core theme is individualism. For all its grittiness, you could maybe argue that the film feels rather artful in such instance.

Dillon is wonderful as Chinaski/Bukowski. He doesn't appear quite as wild or as rough around the edges as Mickey Rourke's depiction in Barfly, but his subtlety is what makes him really quite appealing. His character is self-absorbed and self-destructive. He doesn't want our sympathy; all he wants to do is write. And by whatever means inspire this -- drink, sex, money -- he's gonna go all the way to achieve a sense of personal satisfaction.

Lili Taylor provides some impressive support as the female alcoholic-equivalent to Chinaski. Her character appears needy and manipulative: when Henry manages to earn a little money to upgrade his wardrobe, she feels threatened and complains that he doesn't have sex with her as much as he used to. Chinaski's narration goes on to say: "I fucked better as a bum than as a puncher of timeclocks." From earning a small amount of money, Henry feels like he has betrayed his mistress. Again, there is a sense of irony here.

Factotum is a film that viewers (particularly aspiring writers) will find interesting. However, those who've previously seen Barfly (the better film of the two) and studied the life of Bukowski may be slightly disappointed, considering that it covers familiar ground and reveals nothing new about the author's life. Either way, Bukowski was one of the great writers of the 20th century, and anything affiliated with his name should warrant a look.

(C) Andy Carrington, 2009.