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THE FANATIC (2019)
The Fanatic poster

CAST
JOHN TRAVOLTA
KENNETH FARMER
ANA GOLJA
MARTA GONZALEZ RODIN
JACOB GRODNIK
JAMES PAXTON
MARTIN PENA
JOSH RICHMAN
DEVON SAWA

WRITTEN BY
DAVE BEKERMAN
FRED DURST

PRODUCED BY
OSCAR GENERALE
DANIEL DRODNIK
BILL KENWRIGHT

DIRECTED BY
FRED DURST

GENRE
DRAMA
THRILLER

RATED
AUS:NA
UK:NA
USA:R

RUNNING TIME
88 MIN

 

 

 

 

The Fanatic image

A mesmerising “all in” performance from John Travolta headlines The Fanatic, a fascinating yet problematic exploration of fame, celebrity and fandom that loses its grip on reality when exploitative violence rather than character becomes the films motivation.

There is nothing worse than watching a truly engrossing movie crap itself with it comes to its final act. Whether it’s laziness, an issue of skill, or perhaps studio interference, there are filmmakers that choke when it comes to putting that final bow on their movie. The Fanatic is the latest example of this, and it is a real shame. For 60 of its 89 minutes, The Fanatic delivers a grungy, gritty take on the relationship between fandom and fanaticism. Inspired by real life interactions that occurred to director and co-writer Fred Durst (the front man of Limp Bizkit with his third directorial effort), it is a film that harkens back to a certain ‘70s aesthetic where character driven drama and gritty exploitation compliment each other for fine trashy movie making. Yet in the end sensationalism tips the scales to a blood-filled and bloody useless finale.

The Fanatic stars John Travolta as Moose. Although not specified, it seems that this 50 something man-child is on the spectrum. Living a life of near squalor, Moose has developed an obsession for genre movies, especially those that feature action star Hunter Dunbar (Devon Sawa). When a meeting with his hero goes very wrong, a confused and morally defective Moose transitions from “big fan” to violent stalker, where boundaries are crossed with oblivious ease.

With a haircut that can only be described as a mullet sculpted with a butter knife, combined with wall-eye spectacles, Travolta sure does make an impression when his Moose hits the screen. He also brings a heartbreaking fragility to a character cast aside by the “City of Angels”, which Durst and cinematographer Conrad W. Hall (Panic Room) present as a grungy landscape filled with thieves and charlatans. Travolta has often been chided for his out their choices, yet his performance as Moose is a big swing that connects with pop and fury. It’s a scary, sympathetic, go-big-or-go-home turn that only Travolta can deliver.

Supporting turns are a mix. As the target of Moose’s obsession, Devon Sawa delivers a testosterone fuelled portrayal of a movie star whose flashes of good is quickly overcome by anger and ego. It is also ironic to find the man who portrayed murderous fan “Stan” in Eminem’s hit video clip playing the role of prey. Anna Golja offers some reprieve as Leah, a paparazzo and Moose’s only friend. Yet it is limited role little in the way of memorable, save for droll narration that does not serve the film at all.

Durst offers some interesting commentary with the material he co-wrote with Dave Bekerman (his debut). Especially relevant is the lack of assistance to those who suffer from mental health issues. Moose is as much a product of his environment as he is a slave to the limitations of his condition, especially his incapacity to feel empathy during social interactions.

It’s such a shame that Durst could not follow through with this further, opting instead to go down the long defunct torture-porn route, and ending his film in a bloodbath that robs whatever good work was presented beforehand. There is no doubt frustration on Durst’s part who, as a popular figure, has encountered more than one “Moose” in his lifetime. Yet in a battle of Durst the storyteller and Durst the target of petty fanboys, the latter ultimately prevails.

Destined for cult status, The Fanatic is as gripping as it is frustrating. Three films in and Durst is showing flashes as a fine filmmaker. He just needs the maturity to compliment his talent.

 

**1/2

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