Dogtown and Z-Boys (Special Edition)

This movie is about hope. It paints a picture of young kids growing up in an incredibly harsh environment (the film goes out of its way to portray Venice of the early '70's in practically post-apocalyptic images) who see in the concrete wasteland nothing but ocean waves of endless promise. They craft, as artists, a new ballet amidst the rubble. They are obsessed with skating the perfect run, not necessarily to be better than their friends, but just for the sake of perfection. In this pursuit of perfection, I see hope. I see a vision of a recreated world where there are no barriers based on class or empty swimming pools surrounded by fences and patrolled by police. But there's also an irony in the hope, in that the Zephyr boys have an exclusivity about them--they are fiercely elite in their rejection of conventionality.

The story of one of the top two skateboarders, Jay Adams, provides the heart to this film. His story provides a balance to the narrative of corporate greed, which ultimately destroyed the Zephyr team (but which also made the film possible and the story relevent). He is shown as a very young and, though violent and utterly contemptous, innocent boy oozing with natural talent. He's interviewed several times as an adult who, we find out, is doing time for heroin-related charges in Hawaii. Next to the brilliance of the Jay Adams the boy, in Jay Adams the man we see a dark shell of regret and pain. His fellow riders lament the fact that Jay's life is so tragic and unfair--there's a sense of complete injustice "he should have had it all" "Jay's had the hardest life of anyone I know who's still alive" "you only get one shot at this...once it's gone it's gone." So within this movie about beauty and hope, we meet Jay Adams and see tragedy and injustice. There's an absolutely beautiful and haunting scene at the end of the Jay Adams excurses in which the beautiful young Jay, maybe 12 years old, with long sun-bleached hair, is skating in an empty pool and falls on his way down one side. His board continues through the bottom of the pool, up the other side, and straight up into the air about 10 or 15 feet. The scene is in slow motion and freezes the board mid-air. Then, there's a fade to a still of Jay at about 25 years old holding a picture of himself as a cute, innocent boy of about 7. Then another fade to Jay as a hard, broken man in his 30's, with a crew but, what seems to be a black eye and bruised nose, and tattoos running up his throat. Eyes like empty holes. This is the filmmaker's art at its finest. A scene like this says so much more than words ever could.

Some of the reviews on this film have complained that the film was too short--that it left too many questions unanswered. I couldn't disagree more. This film is all about the questions, not the answers. As a Christian, I see this film as a commentary on humanity and our longing for beauty--our hope for a future that includes a recreated world where architecture is no longer purely utilitarian, where there are no longer divisions between north Malibu and the southern beaches. Where everyone has access to a perfect wave. A future in which greed no longer robs us of our innocence, and Jay Adams is once again that strikingly charismatic and beautiful blond-headed boy writing profound poetry with his skateboard, poetry that destroys the walls of violence and drugs and elitism, that opens his soul to ours and ours to him. In the words of U2, a future "where the streets have no name." Our souls groan for a better place, and this film captures that emotion as well as any I've ever seen. This is an amazing film!