In the opening scene of Funny Pages, the directorial feature debut of Owen Kline, seventeen-year-old Robert Bleichner (David Zolghadri) shows off his drawings to his teacher, Connor Katano (Stephen Adly Guirgis) Robert wants to be a cartoonist, but he’s torn between what he should do and what he wants to do—which couldn’t be at more polar opposites. Robert’s portfolio is full of figure drawings because he knows that art colleges will want to see that type of work, but Robert’s real passion comes in his absurdist drawings that seem to be quite influenced by R. Crumb’s more cartoony work. However, Katano wants Robert to embrace his passion and ignore what society tells him to do. Katano tells Robert that he should “always subvert,” and it’s a lesson that Robert takes to heart in almost every scene of Funny Pages.
Soon after this discussion, Katano is killed in a car crash right in front of Robert, and this accident solidifies this advice in Robert’s head. Almost immediately, Robert drops out of high school, tells his parents (Maria Dizzia and Josh Pais) that he’s moving out and finding his own place in Trenton, and decides to forego college altogether in order to become a cartoonist on his own terms.
While Kline’s screenplay often feels like a collection of odd scenarios for Robert, Funny Pages fully commits to its disgusting aesthetic that makes the viewer feel like they are under a thick layer of grime. Funny Pages is as if Terry Zwigoff tried to bring a John Waters nightmare to life. When Robert movies out, he finds himself living in the dingiest basement apartment possible, with two other men who keep the heat at boiling temperatures for no discernible reason, other than to show how sweaty and gross this new situation is for Robert. Kline’s direction and the absurd set design make it so the audience can almost feel the heat and stench that must be emanating from that vile living arrangement.
Kline uses the disturbing nature of the outside world as a way to show the difficulties of getting started on your own, a terrifying place that it would be easy to try and avoid at all costs. This feeling spreads beyond just Robert’s horrific apartment, into the rest of the real world. Even when Robert gets a glimmer of hope for his future when he meets Wallace (Our Flag Means Death’s Matthew Maher)—who used to work for Image Comics—Wallace is an unsettling and uncertain presence who can turn on the anger in a second. Even Robert’s supportive friend Miles (Miles Emanuel) makes situations agonizing, as he stands too close to Robert when talking and seems a little too invested in this mostly one-sided friendship.
But this revolting world that Kline crafts isn’t just for laughs (although Funny Pages is uncomfortably hilarious), it serves a purpose in Richard’s journey. When he goes to visit his parents on Christmas, there’s a tangible security and relief that comes from just being in a place that isn’t intolerable. As the son of Kevin Kline and Phoebe Cates, it’s easy to see why Owen Kline would want to tell this story of trying to explore the world on one’s own terms, without the assistance and comforts of the world one has always known. Robert’s parents are far more supportive than they have any right to be, and they want the best for their son, but Robert knows that to achieve his own personal goals, he can’t exist in this world with his family’s rules and expectations.
Co-produced by Benny and Josh Safdie, Funny Pages has a tremendous cast of actors who look unlike the type of people that we usually see cast in these types of films. Like Robert’s drawings, Kline highlights every imperfection and flaw within these characters. A face full of acne or a sopping wet combover all do wonders to hit upon Kline’s idea of the outside world as a repellant idea that we all must jump into.
Zolghadri has to walk an impressive fine line here, as throughout the entire film, Robert is subverting our expectations—often in a way that makes him come off as a massive douchebag. When he’s given kindness, he throws it back in the kind person’s face. When his parents try to do what’s best for him, he ignores their advice. Even when his choices could endanger himself and those who love him, he accepts whatever menacing situation comes his way. But even though we may hate the choices that Robert makes, we understand why he feels this need to make his life this way. As Robert’s art shows, he knows the world is a vulgar and obscene place, and instead of hiding from that unseemly truth, he embraces it with both arms. It’s a testament to Zolghadri that he is able to play this part without making the audience hate every choice Robert makes.
Similarly, this entire cast is fantastic, from Guirgis’ short scene at the beginning that permeates the rest of this story, to Dizzia and Pais, who are attempting to give their son space, yet are consistently shocked by his poor life decisions. Even quick cameos from people like Andy Milonakis and Ron Rifkin build this world, helping showcase the dichotomy of comfort and discomfort that Funny Pages is playing with. But of the supporting cast, Maher is the true gem, who is presented as both an opportunity for Robert, as well as a potential burden. Especially when Kline brings these worlds of comfort and discomfort together, Maher is like a bomb, ready to decimate what comfort there is left in Robert’s life, and it’s a fascinating explosion to watch go off.
Funny Pages is one of the most distinct and often disturbing directorial debuts of the year, as Kline shows a very set style that will be exciting to watch grow in future projects. Kline films his world like his lens is covered in gunk, yet it’s an effective approach for the tone he’s attempting to reach. Kline has made a film that feels akin to the indie coming-of-age stories from the 2000s, like The Squid and the Whale, in which Kline also co-starred. Funny Pages is a beguiling debut, but it’s also one of the most compelling and unique takes on the coming-of-age genre in years.
Rating: B+
Funny Pages is in theaters and on demand now.