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If you’ve been paying attention, chances are you’ve
heard people talking about Napoleon Dynamite. The problem, however, is that you
probably haven’t been able to make sense of what you’ve heard. There’s an air of
confusion surrounding Napoleon—an air of uncertainty. That’s exactly how you feel
when you leave the theatre, and it’s that feeling that becomes part of the film’s charm.
Written by brothers Jared and Jerusha Hess, Napoleon Dynamite is
set in an ambiguous time period that falls somewhere between Trapper Keepers and Roller
Blades. The film centers on a young man named Napoleon Dynamite, played by newcomer
John Heder, and his life in a rather non-descript Idaho town.
Napoleon Dynamite caught my attention immediately. The opening
sequence is unique, artistic, and a great indicator of what’s to come. Napoleon is an
angry nerd who’s plagued and annoyed by the people in his life. His older brother, Kip
(Aaron Ruell), is a computerphile who’s developed a steamy relationship via the Internet.
His grandmother (Sandy Martin) is a tough cookie who dates younger men and rides buggies
in the desert, and his Uncle Rico (Jon Gries) is a slimy Tupperware salesman obsessed
with 1982.
Through a series of random events, Napoleon gains a friend,
a girlfriend, and the respect of his high school peers. He befriends Pedro (Efren
Ramirez), a Mexican immigrant whose depth and charm are not lost on the audience. He’s a
character you root for, and his kindness makes you wonder if it’s actually he who’s taken
Napoleon under his wing—and not the other way around. Pedro decides to run for class
president, and Napoleon’s fierce loyalty and well-rehearsed dance moves become part of
his campaign.
If you think, however, that this is a nerd-turned-prom-king
movie, you’re mistaken. Part of Napoleon Dynamite’s charm is the ambiguity of the
story. We never meet Napoleon’s parents, nor is their absence ever explained. He and
Kip could be orphans, but the Hess brothers never touch on the subject because it just
isn’t important.
The draw of a great movie is the arc of the storytelling.
The character starts in one station in life and ends up in another. The journey from one
place to another is what makes the audience invest in the character. Napoleon’s arc is
not that noticeable, but the fantastic characterization allows for the absence. To some,
it may seem like Napoleon isn’t better off at the end than when we first see him. The
other characters are—Uncle Rico finds what he’s been searching for, and Kip gets a taste
of reality—but for Napoleon, things aren’t that neat. You’re not sure, however, that
Napoleon really cares.
If you’ve never heard of the “Slice of Life”
genre, you’ll know it well after seeing this film. This is 90 minutes of Napoleon
Dynamite’s life—no more and no less. It’s an example of great writing and wonderfully
written three-dimensional characters who will leave you wanting more.
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