There are specific phases in filmmaking that stick out more obviously than others when you take a closer look at previous decades. In the 90s, there appeared to be a proliferation of independent filmmakers who were cropping up in hopes of being a part of the rising tide of talent that was highly sought after by burgeoning studios and audiences voracious for something a little different. At the very least, there were more avenues for many of these artists to have their work seen thanks to the more widespread adoption of home entertainment options. This was the time when figures such as Richard Linklater, David O. Russell, Steven Soderbergh and Quentin Tarantino were carving out names for themselves that would allow them to successfully continue defining cinema for decades to come. You could see that many films were coming out that desperately wanted to say something substantive. One such film was the 1993 film Bodies, Rest & Motion from director Michael Steinberg. While the film was a selection of both the Cannes and Sundance Film Festivals, its reputation in the intervening years is almost nonexistent. As Kino Classics has deemed it worthy of a Blu-Ray debut, I felt it was worth checking out if the film was a potential diamond in the rough.
The opening text of the film which recounts Newton’s First Law of Motion clues you in to some of the pseudo-intellectual musings that are in store for you. Bodies, Rest & Motion is based on a play by screenwriter Roger Hedden, a fact that feels very obvious as you make your way through the story. The stakes in the film are not particularly grandiose in any way. These are four twenty-somethings in Arizona who are contending with the existential meaninglessness of their lives and lack of identity in the world. At least, that is what the film seems to be putting forth. The one who seems to be struggling the most in this regard is Nick (Tim Roth), a salesman at an appliance store who feels caged-in by his dull life. His girlfriend Beth (Bridget Fonda) is not much happier with her job as a waitress, but her life feels even smaller by the virtue of how much she ties her well-being to Nick. They are both friends with Carol (Phoebe Cates), an ex-girlfriend/roommate of Nick’s and current bestie to Beth. The extremely erratic Nick makes the grand decision for him and Beth to make a fresh start in Butte, Montana (the town of the future), which sets the stage for a life-changing couple of days.
Actually – scratch that – the self-involved Nick makes the unilateral decision to take off without Beth after his last shift at work in an effort to find some meaning on the road. Carol, who still seems to have a complicated relationship with Nick, is tasked with delivering the heartbreaking news to Beth. This happens to be right around the time she is slowly letting herself succumb to the charms of our final point of the square, Sid (Eric Stoltz). Sid has been employed to paint the house that Beth and Nick were vacating before the new tenants move in, but he finds much greater pleasure in getting to really know Beth on an intellectual level. He also seems to be one of the few who seems content with his small life in his hometown. All of these individuals have become disaffected and stuck in time, and it takes this external force of a sudden departure to make everyone reexamine what they truly want out of life. This is a movie filled with “deep” conversations that attempt to make incisive points about Generation X that do not feel particularly groundbreaking.
While it may sound like I disliked this film, that is surprisingly not the case. The general tone of the film feels pretentious, but I cannot say I was not drawn in by the characters throughout most of the runtime. Sure, Nick is pretty insufferable as a character, but even he has some narratively rich moments when he attempts to reconnect with his parents on the road. It is the performers who help tie this movie together in the end. Tim Roth keeps Nick likable even when he is being the worst. Phoebe Cates is not given enough to do in the end, but she says so much with a few key heartbreaking glances. Even the improbable romance and chemistry between Bridget Fonda and Eric Stoltz worked for me. The two were a couple at the time of filming, and that chemistry does shine through. Outside of this dynamic, Fonda delivers a really nuanced performance that is thankfully not betrayed by an ending that would ruin all of the character development gained throughout. Bodies, Rest & Motion is not really a unique film in any way, but it does have an inherent watchability that should appeal to anyone with a soft spot for easy going, slightly pretentious indie dramas.
Video Quality
Bodies, Rest & Motion comes to Blu-Ray with a digital AVC encoded 1080p transfer derived from a new 4K master. The fact that Kino Classics has not only rescued this film from obscurity but has also given it a beautiful presentation is very impressive. This transfer maintains the natural film grain of the source without any hints of digital tinkering. The grain presents as organic rather than overwhelmingly noisy, which allows for greater depth to the image. Overall clarity and detail is very strong, and skin tones are natural and consistent with subtle facial features easily noticeable in closeup. Colors are well saturated with vivid hues popping off the screen, especially in the warm desert setting. Black levels are deep and hold up well with crush not serving as a noticeable issue. Instances of print damage have been cleaned up immensely, but there is the occasional blemish that stands out. There is a scene in bed between Beth and Sid where what looks like a burn mark flashes on screen for a brief moment. Other than this instance, the print looks excellent. This new presentation from Kino Classics is better than any fan of the film probably ever dreamed of getting.
Audio Quality
The Blu-Ray disc comes with a DTS-HD 2.0 Master Audio track that accurately captures the intended sound of the film. The music is used well to establish the mood of the story, and this track handles it elegantly throughout the duration of the film. There is never a moment where it threatens to overwhelm competing sounds, and it maintains a good balance so that dialogue comes through clearly. The desolate environmental sounds of the desert are rendered well alongside everything else. There does not seem to be any majorly noticeable instances of age-related wear and tear. Kino Classics has given this film a perfectly preserved audio presentation that brings the movie to life in a most pleasing manner.
Special Features
- Audio Commentary: Director Michael Steinberg, Actor/Producer Eric Stoltz & Writer Roger Hedden give all the details you would want to know about the development and production of the film. The participants are giving insights individually which are stitched together into something cohesive and informative.
- Introduction by Director Michael Steinberg: A 32-minute featurette in which Steinberg discusses how he came to work on the project, casting the film, initial reactions from the festivals, backlash from reviewers, the legacy of the film and more. This is very worthwhile and informative.
- Introduction by Screenwriter Roger Hedden: A four-minute introduction from Hedden in which he shares his appreciation for fans of the film while discussing its origins as a play and why certain changes were made when turning it into a film including the setting and an important penultimate scene.
- Nightwatch (1985): A thirteen-minute short film from director Michael Steinberg in which a night watchman has a horrific shift and some unsettling encounters. Very creepy and different from Bodies, Rest & Motion.
- Behind the Scenes Footage: Seven minutes of candid footage from the production of the film is provided without any context.
- Featurette: A six-minute archival piece in which the cast and crew discuss the themes of the movie and give a small breakdown of their characters.
- TV Spot: A thirty-second spot is provided that very briefly sums up the movie.
- Trailer: This two-minute trailer is given a bit more time to breathe and showcase the tone of the film a bit more.
Final Thoughts
Bodies, Rest & Motion is an entertaining film in spite of itself. You could basically call this “White People Problems: The Movie” and not be too far off base. Yet, some combination of the performances with the laid back aesthetic makes this a film that is easy to fall into. It is not an undiscovered masterpiece, but it is a solid bit of entertainment for those looking to watch something on this wavelength. Kino Classics has given this film its Blu-Ray debut with a pretty grand A/V presentation and many excellent special features. Recommended
Bodies, Rest & Motion is currently available to purchase on Blu-Ray, DVD and Digital.
Note: Images presented in this review are not reflective of the image quality of the Blu-Ray.
Disclaimer: Kino Classics has supplied a copy of this disc free of charge for review purposes. All opinions in this review are the honest reactions of the author.
Dillon is most comfortable sitting around in a theatre all day watching both big budget and independent movies.
