Sees no evil in driving the real people of Aspen out to make room for the developers and the rich. She doesn’t see what she’s doing as wrong. Homeyer is oblivious to how manipulative she is. She brings a deliciously bland middle American flavor, and leaves an indistinct aftertaste. This leads to the exposure of the town’s great divides, generational, racial, economic and corporate.Ĭheryl Hines, as Aspen Mayor Eve Homeyer, is fun to loathe here. Acid clarity inspires him to discern unnatural elements in the stream, and to pour a bucket of the foul-smelling stuff at an Aspen town council meeting. After riding with the Hell’s Angels, former sports writer Hunter fled to a cabin in the woods to start a family and write a novel at the end of the 1960s. The race was also the focus of last year’s documentary Freak Power: The Ballot or the Bomb. “The Battle of Aspen” was Thompson’s first Rolling Stone piece, and can be found in his essential collection The Great Shark Hunt. One inspired sequence shows Hunter shaving his head just so he can call the encumbered, incumbent Republican candidate for sheriff “his long-haired opponent.” Thompson runs on the “Freak Power” ticket. Whitmire’s opponent is running on a very Democratic “Jail Thompson” ticket, and de-pigs the top cop. He’d probably envy the handguns, rifles and other weaponry available up at Thompson’s place. Thompson is as much an outlaw as Doc Holliday and Billy the Kid to Sheriff Carroll Whitmire (Laird Macintosh).
It’s even hard to fear the sheriff Hunter is trying to depose when he says he got the chalk for his map of local intransigeants from his kids. But the low-budget, we-can-do-this-at-home intimacy explores the players’ interiors more deeply. While Gillian tried to bring the inner LSD experience to an artistic fruition, Fear and Loathing in Aspen shows the exterior surface of indulgent tripsters. Bulger gives a visceral impression of the thrills and lows of the high. Thompson almost traded writing articles for tickets, and found a new buzz: political addiction. Thompson himself, through recordings he made during his political run.
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We don’t doubt he is who he’s playing, and when we see the 8 mm home movie footage, we can imagine ourselves being fooled into thinking of Hunter with a full head of hair. He was also a gonzo journalist and Rolling Stone writer, and puts himself behind those tinted aviator glasses, converse sneakers, crumpled hat, and cigarette holder. Bulger doesn’t project inner wildness on the inner projector behind his eyes, but spent a large part of his real life immersed in Thompson’s job. Murray and Depp got to hang out with Thompson in the flesh. It is a deeply felt performance, especially when Bulger allows Thompson to reveal his own inner disappointments, something which never occurs to Johnny Depp until The Rum Diary. Bulger captures Thompson’s mannerisms without ever approaching caricature. He sprinkled Thompson’s singular speaking approach like pepper, and never offended the chef. Murray was himself, with Thompson’s impish soul egging him to be what he was naturally. Though I love Terry Gilliam’s Fear and Loathing in Las Vegas, Art Linson’s film more accurately captures the offbeat social divide because it was closer to the source material. My favorite Bill Murray performance is his turn as Thompson in Where the Buffalo Roam. More than merely recreating the era, Fear and Loathing in Aspen accurately captures the underground filmmaking experience of the time period. Much of it is shot on vintage grade, grainy film stock, and it looks like the actors were free to taste at least medium grade, seedy, hemp stock, as well as mescaline, cocaine, and plain old tobacco, dipped in PCP. Set just before Thomson, played by Jay Bulger, caught his stride with his 1971 novel Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream, the film conjures the energy of strange, new beginnings.
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