Qualley Steals Both the Show and Briefcase

(040524) Drive Away Dolls is an energetic lesbian road trip movie featuring two opposite romantically involved female characters that go on a cross country trip while they are being followed by mobsters. The film is titled on screen as Henry James’ Drive Away Dykes which I think is catchier and captures the it's tone better. The film is trashy, derivative and low brow, but it is also often entertaining. It could almost have been a 70s midnight cult movie like the kind of midnight movie Claudia Jennings might have starred except it has a bigger budget and less sex, violence and exploitative content (this is a B film and many of them were Z films).

The film was directed by Ethan Coen who was formerly part of the best film making duo ever apart from Michael Powell and Emerick Pressburger; the magnificent and totally unique Coen Brothers. They were responsible for such instant classics as Barton Fink (1991), Fargo (1996), The Big Lebowski (1998) and O Brother Where Art Thou? (2000). Drive Away Dolls while worthwhile never rises to that level. Even Ethan’s last film as a solo director: The Ballad of Buster Scruggs which while uneven was more challenging, witty and quirkily brilliant effort than this. But make no mistake; Dolls is an entertaining lighthearted romp. This film is a pleasant and sunny contrast to Ethan’s brother’s more serious and darker: The Tragedy of Macbeth, although it is ultimately less aesthetically ambitious and fulfilling.

This time Ethan has a new partner, his wife and screenplay writing assistant Tricia Cooke. Her help and experience were integral to the film because the movie is told completely from a female point of view. Cook is also bisexual, and the film does take us through the lesbian subculture; early scenes show the mobsters uncomfortably visiting lesbian bars. Even though it was co-written by a man, it’s surely a much better female centric film and it is more likely to be a hit with both genders than more self-consciously feminist action duds like The Marvels or Madame Web.

The tone of the film is unlike any other Coen brothers’ film. Although it clearly recycles a few plot elements from a few of their other films as well as True Romance, Coen brothers fans may be surprised that it is closer in tone to exploitation films Russ Meyer’s Faster Pussycat Kill or Vixen than Fargo.

There is even a hilarious “groovy” psychedelic dream sequence in which pop icon; Miley Cyrus bathed in day-glo color appears momentarily in a scene that could have appeared in Russ Meyer’s Beyond the Valley of the Dolls. In the scene Cyrus is playing the alternative sculptress from Chicago, Cynthia Plastercaster, whose specialty was taking plaster casts of rock star genitals. Plaster casts and dildos are also integral to the film’s plot. It is a fun scene but speaking as someone who knew Cynthia (I interviewed her for a web site, she spoke in my classes and we went to the same parties and had many mutual friends) I must say that Miley does not look, sound or act anything like Cynthia in the film. But it was delightful that the film tipped its hat to her and that the whole film was dedicated in the end credits to my former acquaintance.

The plot is simple and familiar with a few unexpected twists. Drive Away Dolls is centered on a same sex couple who drives across the country to Tallahassee with a mysterious unopened suitcase in their car. Long time cinema addicts might recognize the "mysterious suitcase" idea which alludes to the noir classic Kiss Me Deadly, as well as its neo-noir cinematic descendent: Pulp Fiction. The pair acquired the car and suitcase when the rental agency mistakenly gave them the car instead of its rightful gangster owners. Along the way the free spirited Jamie acts as the other woman’s “manic pixie dream girl” or spontaneous savior. She helps liberate her conservative counterpart, Marian and teaches her how to enjoy life and take it on the chin, but she also gets her into trouble. Because of this main relationship, the film is sort of like an updated lesbian version of Jonathan Demme’s Something Wild with Margaret Qualley in the Lulu/Melanie Griffith part.

It helps immeasurably that the film has two bright and talented female leads. Margaret Qualley was in Once Upon a Time in Hollywood, Stars at Noon and Poor Things, and Geraldine Viswanathan who was in Blockers and Cat Person. The two have great chemistry playing women that are almost every way polar opposites, but Qualley who is the daughter of actress, Andie McDowell is particularly delightful and she was excellent in everything I’ve seen her in. Margaret’s Jaimie is the sexually insatiable firebrand who aggressively initiates the relationship. The more passive Geraldine is the repressed buttoned-down prude and book worm (she particularly loves Henry James) that she seeks to liberate. Qualley’s winning portrayal was reputedly inspired by the screen writer, Tricia Cook, and she claimed she is basically doing an impression of her here. Other standouts from the good cast include: Coleman Domingo (nominated for an Oscar this year for Rustin), Pedro Pascal (rumored to be the Marvel U’s new Mr. Fantastic), and Matt Damon.

The film does not add up to all that much in the end, but it does provide some chuckles, chills and thrills. It's an exercise in some good mindless fun which is fine. Plus like all good road films it gives us some glimpses into the diverse people and different parts of the USA. In this case that was enough for me.