Buffalo '66 (Directed by Vincent Gallo) Film Analysis

Buffalo ‘66 (Directed by: Vincent Gallo) Buffalo ‘66 is Gallo’s ode to his childhood and hometown. Like most artists he writes from what he knows. Having moved to New York from an early age (around 17), for his directorial debut he went back to the city where he grew up, and even shot scenes in his real parents’ old house. Buffalo made him what he is, and still resonates deeply in him. He had enough emotional distance when he made the movie to be able to find the humor in it, but watching the movie it’s clear that his past still haunts him, “It’s an open wound”(1), as Roger Ebert describes it in his review. Spite, resentment, revenge and anger seem to fuel Gallo’s energy; they’re his motivation to create. He is infamous for his public antics, his idiosyncrasy and statements like “ 'I stopped painting in 1990 at the peak of my success just to deny people my beautiful paintings. And I did it out of spite. '” A one man army, nobody praises and hypes Gallo more than Gallo himself. He’s never short of bravado and macho, like a kid forever competing with everybody else to be the coolest, most hands-on and authentic. And yet in his art, his stories and songs, we see a fragile man, haunted by his past, broken by the hardships of love. He presents himself that way, his heart perennially broken and sad, looking for revenge or closure. He’s a bitter man, but he is sad in style, of course. His looks and sense of fashion and “cool” are integral to understanding what he does and where he is coming from. His cult of personality, gigantic ego and vanity inform his work a great

deal; it’s his approach, what makes him different. Gallo is an artist that operates as an outsider, but looks like a rock star. He understands that to stand out, to be noticed, an artist has to create his own hype, his own legend; his persona is as much a creation as his work. Which is why he likes to keep people guessing, and building a mystery around him. Provoke people and they’ll pay attention,

Bibliography: 1) Ebert, Roger. “Buffalo ‘66”. Review. Chicago Sun-Times (Chicago) 7 Aug. 1998. Print/ Online. http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19980807/REVIEWS/80807 0302/1023 2) Tallmer, Jerry. “Vincent Gallo and Buffalo ’66”. Interview with Vincent Gallo. New York City 1998. Online. http://www.siegelproductions.ca/filmfanatics/gallo.htm. 3) Gallo, Vincent. “Mono Mia”. Article. Sound Practices Magazine. Summer 1992. Print/Online. http://www.drowninginbrown.com/dib_sp.htm 4) Vincent Gallo’s website. http://www.vgmerchandise.com/store/home.php 5) Kaufman, Anthony. Vincent Gallo. Interview. Soma Magazine. November 2001. Print/ Online. http://www.vincentgallo.com/writing/AnthonyKaufman.html 6) Taylor, Lee. “The Cover Star: An Interview with Vincent Gallo”. Flux Magazine. UK, No.9, Oct/Nov 1998 Print/Online. http://www.galloappreciation.com/print/flux.html 7) Ebert, Roger. “The whole truth from Vincent Gallour”. Chicago Sun-Times (Chicago). August 29,2004. Print/ Online. http://www.galloappreciation.com/index2.html 8) Lim, Dennis. “R.I.P. ‘Promises,’ It Was Nice Knowing You”. New York Times (New York Edition) June 8, 2012. Print/ Online. http://www.nytimes.com/2012/06/10/movies/vincent-gallo-keeps-promises-written-inwater-off-screens.html 9) Oppenheimer, Jean. “Playing a Risky Stock on Buffalo 66”. American Cinematographer. July 1998, Vol. 79 Issue 7, p32. Print/Online database Art Full Text (H.W. Wilson) 10) Video Glossary. Online. http://www.video-editing-made-easy.com/video-glossary-p.html 11) Criterion. “The Ozu Shot: Tokyo-ga and Late Spring” Criterion film essay. Online. http://www.criterion.com/current/posts/2257-the-ozu-shot-tokyo-ga-and-late-spring 12) Internet Movie Data Base. http://www.imdb.com/title/tt0118789/trivia