GROOVE (2000)

 

This enjoyable independent film is all about a group of enterprising young music fans getting together to take over an abandoned warehouse in San Francisco to put on a "rave". Now, I don't pretend to know very much about rave culture. In fact, when I was preparing this review, I looked up the term on Wikipedia. To my surprise, the rave has a long, convoluted history going back a few decades. The basic idea is a pop-up, sometimes-illegal dance party oftentimes set up in an abandoned industrial space that features well-known disc jockeys and lots of drugs. I spent a lot of time in dance clubs back in the days of my lost youth, but I never heard the word rave until I started buying CDs featuring techno, trance and house music in the late 1990s. I still enjoy a lot of the music, but if I had the opportunity to attend a rave, I would politely decline. Men of a certain age with arthritic knees have no business hobbling around raves or dance clubs. This film played at a local theater, aptly named The Art Theater, which specialized in independent, foreign films and retrospectives of classics. GROOVE caught my eye because of its subject matter. I loved the film at first watch and then happily came to own the DVD and the CD soundtrack. This is one of those favorites that I revisit quite often.

The film begins with four young people opening the door to an abandoned warehouse, looking around, and deciding the space is indeed rave-worthy. When one member of the group points out that there is a police station not far away, the main organizer responds with: "Remember: No obstacles. Only challenges." And they get to work. Meanwhile, news about the impending dance party begins to spread to local ravers (Ravesters? Ravees??) via email. The rave faithful begin organizing travel plans, ride sharing, etc., many by leaving their phone numbers on online chat boards. GROOVE was made in that prehistoric era before the ubiquitous cell phone.

Leyla (Lola Glaudini) seeks a ride to the rave.

In spite of its techno-driven, hipster ambience, this movie is primarily an updated version of that venerable Hollywood genre known as Hey!! Let's Put On A Show!! We can go as far back as FORTY-SECOND STREET (1933), BABES IN ARMS (1939) or THE BAND WAGON (1953), and the concept is the same. A group of creative, energetic people work together to produce some sort of musical entertainment. The difference is that in GROOVE, the music is on records and the stars are Disc Jockeys such as Digweed, Snaz, Polywog, Forest Greene and WishFM. And the dancing is performed freestyle by the frenzied ravesters, not choreographed by Busby Berkley or Gene Kelly. Otherwise, the storyline progresses just like in the old movies. We see the backstage drama of the organizers working to get the show going and dealing with any conflicts and emergencies that come up, including bargaining with a policeman who threatens to shut them down if the music gets too loud or there are too many people crowding into the abandoned industrial building. We also witness the human drama taking place among some of the attendees.

Hamish Linklater and Lola Glaudini caught up in the throes of Ecstasy.

Mackenzie Firgens and Denny Kirkwood in love. At least, for now.

Our two principal protagonists are brothers David and Colin Turner (Hamish Linklater and Denny Kirkwood). David is an introverted writer who has a hard time relaxing and having fun. His brother, a dedicated raver, wants David to go to the party to learn how to loosen up. He also wants David to be there when he presents an engagement ring to his girlfriend and fellow raver, Harmony Stitts (Mackenzie Firgens). After the three arrive at the party and get fortified with the drug Ecstasy, David meets a beautiful woman, Leyla Heydel (Lola Glaudini). Leyla has been raving for several years, including dancing and drugging her way through Europe. Now, in her late 20s, and having relocated to San Francisco from New York, she is beginning to question the long-term sustainability of the rave lifestyle and would like to find a different direction in life. As the Ecstasy flows through their veins and the incessant beat of the techno/hardcore techno/house/acid house/trance/ambient/new beat/drum and bass/dub step melodies pulsate through the crumbling commercial building, David and Leyla experience a mutual attraction and begin bonding. Colin and Harmony, however, soon find their engagement in jeopardy when she discovers her husband-to-be in a compromising position with another man, the sexually adventurous Anthony (Vincent Riverside). Tears, self-doubt and agonizing angst ensue. Has Colin discovered his true nature, or is he just temporarily confused via Ecstasy? Can Harmony salvage her troubled relationship or is she doomed to become an old maid, doomed to solitary raving? And what about Leyla and David? Will their nascent bonding fizzle out when the party is over? Will all four of them suffer hearing loss because of the insanely loud music?

Apart from all of this romantic melodrama, we meet several other party hounds, including a young guy who almost has an overdose. This brings a serious, truthful moment into a film where people are swallowing drugs like candy. Greg Harrison, the director, apparently was trying to send a serious message with the film. This statement from him is included on the brochure in the DVD package:

My intention with this film was to evoke the community found in the subculture of raves. I was also interested in exploring the ambiguous morality surrounding relationships and drug use, as well as the universal desire of people to belong and feel connected, however successful or unsuccessful each person's attempt is. GROOVE is a film that captures the details of an underground scene, immersing the audience in a place many have not experienced. The result is an authentic document of a time in youth culture history.

The ravers get direction.

The film had a $200,000 budget and made good use of San Francisco area locations. It was shown at the 2000 Sundance Film Festival and was picked up by Sony Pictures Classics for $1.5 million. Most of the spirited cast doesn't seem to be that well known outside of Hamish Linklater, who has a substantial list of credits in theater, film and television. There are also quite a few acting credits for Lola Glaudini, Mackenzie Firgens, and supporting players Ari Gold and Rachel True.

Whether you perceive this as an "authentic document of a time in youth culture history" or simply a cool popcorn flick with lots of music, I can promise you a good time in your movie room.