Howl (2011)

How do you bring the written word alive on the screen? "Howl," in depicting the famous Allen Ginsberg poem, does so ingeniously. But the beauty of the poem is interspersed with scenes of a much more conventional nature as well. The film is divided into four specific segments--the 1957 obscenity trial, a famed 1957 interview with Ginsberg (played ably by James Franco), the 1955 public unveiling of the masterwork "Howl," and an animated representation of the work in question. Then there are some flashbacks that accompany the various segments as needed. It is a lot of material for a film that runs less than ninety minutes. It is a credit to "Howl" that it works so well--but I also wonder if more impact might have been made by limiting the focus somewhat. Sometimes less is more. Also, by being so reverent to Ginsberg and the source material (the interview, most noticeably)--ultimately, I felt less emotionally connected to this fascinating character than I'd hoped.

It is actually the animation in "Howl" that stands out the most. On some level, I felt that the filmmakers had this inspired idea of how to present "Howl" (the poem) in a visually compelling style--but then had to come up with other secondary material to round out a feature film. The film comes to life with these sequences. Franco's interpretation as he reads "Howl" can be distracting, however. I know he is channeling Ginsberg, but the awkward cadence of his delivery disrupts the smooth flowing imagery. A small point, though, because I found the animation in "Howl" extraordinary and interesting. As a small film, on its own, I think it would have been a rousing success and brought "Howl" (the poem) to a new generation.

The other segments are nice enough. The 1955 reading and flashback scenes, done in black and white, provide context to Ginsberg and his era (that good ole "Beatnik" generation). We see glimpses of Ginsberg with the various loves of his life--they are fleeting moments, not particularly developed, but they do help to enhance the meaning of "Howl" (the poem). The obscenity trial, which was leveled against the publisher and not Ginsberg (Franco is not even in this part of the film), is pretty standard courtroom fare. It's well done, if not especially revelatory. With Jon Hamm, David Strathairn, and Bob Balaban as the court officials and Mary-Louise Parker, Treat Williams, Alessandro Nivola, and Jeff Daniels on the stand--you know it's impressively acted. It is the interview sequence in which Franco gets to shine. Franco's frankness is both convincing and illuminating to how Ginsberg conceptualized his poem. But again, as it is based on transcripts, we learn only as much about Ginsberg personally as he tells us.

"Howl" is a good film with elements of greatness. My only real disappointment is the biographical element in the film. Ginsberg's interview documents his journey from normalcy, to a mental institution, to a life in the professional world, to his acceptance of a counterculture. I'm sure it would make a terrific film in its own right. But "Howl" introduces us to Ginsberg, the man, but never really lets us get close to him. So as much as I admired the film--ultimately, I was not very connected to it. Interesting and intellectual, "Howl" succeeds best when dealing with "Howl" but lacks some of the insight into its author that would have taken the film to the next level. There were just too many aspects in "Howl" introduced to follow them all through. Courtroom drama, biography, artistic interpretation--it's a lot for a little film. But I did very much enjoy "Howl" and recommend it--especially to those interested in the subject matter! KGHarris, 10/10.

HOWL is a well-chosen name for this excellent movie. Yes, it indeed is a study of the creator of that significant poem Allen Ginsberg but the film seems to be more focused on bringing the audience to a level of appreciation of the impact that particular poem had on the world of censorship, of bringing to the attention the parameters of varieties of sexuality and emotions, of the so called concept and rise of the Beat Generation than it is in portraying the life history of the poet himself. Writers/directors Rob Epstein and Jeffrey Friedman have combined archival footage of the real Allen Ginsberg and moments in the cafés where Howl was read along with very fine animation to relate the grotesque feelings of the poem in a way that enhances our understanding of this important work, and with that they have gathered an exemplary cast of actors to recreate the people that surrounded Ginsberg's life and experience with the courts.

The film begin with the 1957 obscenity trial held for the 1955 creation of the poem Howl: the Judge Clayton Horn (Bob Balaban) hears the prosecutor Ralph McIntosh (David Strathairn) bring testimony from a variety of 'experts' Gail Potter (Mary-Louise Parker), Professor David Kirk (Jeff Daniels), Luther Nichols (Alessandro Nivola), and Mark Shorer (Treat Williams), and then hears rebuttal from Ginsberg's attorney Jake Ehrlich (Jon Hamm) who is also defending Ginsberg's publisher Lawrence Ferlinghetti (Andrew Rogers). And while the trial proceeds the audience is taken back to the year of the poem's creation with Allen Ginsberg portrayed with exceptionally fine acting by James Franco. Ginsberg relates his mother's insanity and the effect of him, his own hospitalization for insanity, and his coming out with lovers Neal Cassady (Jon Prescott), Jack Kerouac (Todd Rotondi), and Peter Orlovsky (Aaron Tveit). Each of these actors offer polished portrayals and truly give a sense of the meaning of a counterculture that emerged as a result of Ginsberg's masterpiece poem.

One of the beauties of this film is that it offers the audience all the information about this period and this event and this poet with astute brevity (the film lasts only 84 minutes), making the impact all the more personal. James Franco as Ginsberg, whether reading Howl or responding to an off camera interviewer, is a completely realized performance. Time will prove what an important film this is. Grady Harp, January 11

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"Howl" is the story of the obscenity trial surrounding Lawrence Ferlinghetti publishing Allen Ginsburg's Howl. Told from Ginsberg's perspective it isn't formatted like a usual movie, but more like a poem with different alternating stanzas.

The stanzas breakdown into an interview with Ginsberg circa 1957, an animated rendition of Howl, the trial, the Six Gallery reading that brought the beats and Howl to mass public awareness, Ginsberg writing Howl, and his meeting and falling in love with Peter Orlovsky.

James Franco plays Ginsberg and while not a nuanced or fiery performance you do get the feeling of what it would be like at the time of the obscenity trial to sit down with Ginsberg and talk about Howl, from how it got started to what it meant to him to write it, and the literary merits of it.

The stanzas mesh seamlessly, and intricately. For instance, the animated Howl that is interspersed with the live action works very well on its own but also in the context of the movie. If you're not familiar with the poem it provides a reference point as to what the controversy was in the first place. The trial scenes with Jon Hamm as Ferlinghetti's defense lawyer, and David Strathairn as the prosecutor provide comic relief, especially more so because the dialog was taken right from the trial transcripts. If obscenity trials are good for anything it's getting straitlaced attorneys to say things that in a different context would be considered obscene.

The movie also doesn't avoid or ignore Ginsberg's homosexuality. As a matter of fact, it's an intricate part of the movie since Howl was Ginsberg's first flash of accepting that within himself as being a part of himself, and normal.

All the performances in "Howl" are good. Everyone delivers even if they aren't asked to do much except "be" the characters they`re supposed to be. Most of the attention is focused on Franco as Ginsberg and he proves that there's more to his acting than what's seen in franchise movies such as "Spiderman."

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This is a shorter length feature film in the style of a documentary drama. Essentially it is Allen Ginsberg (James Franco) telling the story of writing his book of poems 'Howl', and the court case that decided whether or not it was considered obscene material. The film cuts between interviews with Ginsberg, scenes from his memory, scenes of the court case, and is broken throughout with scenes of his first reading of 'Howl'. The poetry reading is also interpreted through animation.

James Franco plays Ginsberg very well and at times his imitation of Ginsberg's vocal cadence and delivery are spot on. He refrains from a caricature of Allen Ginsberg and portrays a real, endearing and human man. The court scenes can be dry and prime to be over dramatic or cliche. They serve mostly to show the conservative and censored backdrop on which 'Howl' was published. The film doesn't have a strict chronology and doesn't need one. It is generally structured by the beginning and end of the poetry reading and a brief biography of Ginsberg's life. I thought the animation was aesthetic and interesting and I really liked the piano score that accompanied it.

There are really beautiful moments in this film. Ginsberg reading the letter of love and rejection from Neal Cassady. Gingsberg relating his revelation that he would always be loved and that he could live life happily as himself, even as a gay man in the 1950's. At the end of the film it is touching and almost thrilling as the voice over of a man singing sweetly transitions to footage of the real Allen Ginsberg.

I was inspired to write a poem while watching this film! It was a very enjoyable and satisfying experience to see 'Howl'. The best aspect of the film is that it brings to your attention the wisdom and poignancy of Ginsberg's story, and the simple beauty of living honestly and free.

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As a journalist, I spent time covering Allen Ginsberg during a tour he made in the early 1980s, a time when he almost seemed to have turned himself into a popular little lawn gnome in American culture. Ginsberg always loved to celebrate and poke fun at himself and the culture that both rejected and eventually enjoyed him. He loved to dance, play his little harmonium as he performed and when I encountered him, he drew a big crowd of university students mostly curious to see the '60s celebrity who had managed to survive.

But Ginsberg, years before Harvey Milk, was a subversive genius and "Howl" finally puts the howl back in Ginsberg's work.

I agree with most of the other reviews on the Amazon page, but would stress a few helpful things: First, you get to experience the entire performance of "Howl" in the course of this film. That's a rare experience these days. James Franco performs it in scenes that recreate that first explosive reading in San Francisco in 1955. In the Extras, Ginsberg himself reads it. Plus, this is the entire version of "Howl," including the "Footnote to Howl," which I think and most literary scholars think is an essential part of the poem. It's amazing that sometimes "Howl" is read or assigned in classes without that Footnote.

The truly subversive choice in "Howl" was casting two of the hottest heartthrobs in America as the leading characters. The courageous defense lawyer at the "Howl" trial is played by Jon Hamm, better known to millions as Don Draper in the hit "Mad Men" TV series. The defense lawyer Hamm plays in "Howl"---from his looks to his prophetic message to the court about American values---is almost a twin to the character of Don Draper. Then, to portray Ginsberg, the producers chose Franco. While Franco may not rank with Brad Pitt on tabloid covers, he's certainly hot today. For example, he appears as one of the hunkiest heartthrobs in Julia Roberts' new movie version of "Eat Pray Love." Trying to place Franco in "Eat Pray Love"? He's the knock-em-dead young actor who tells a girlfriend: "When I look at you, I can hear dolphins clapping." Obviously, that sappy line wasn't penned by Ginsberg. Watching those two actors at the helm of "Howl"---that casting choice alone---drives home the film's plea for diversity. Two of the coolest hearthrobs in America right now see the enduring value in what Ginsberg achieved more than half a century ago.

Ginsberg certainly was as much a self-styled clown as a prophet. But, he realized years before many others of his generation that--even from the margins of our society--words are a perpetual source of power. He shouted out this truth at the very end of Howl. Even the language of the Footnote is R-rated, but those final lines should echo on for years to come. The passage includes:

Holy! Holy! Holy! Holy! Holy! Holy!

The world is holy! The soul is holy! The skin is holy!

Everything is holy! everybody's holy! everywhere is holy! everyday is in eternity! Everyman's an angel!

The bum's as holy as the seraphim! the madman is holy as you my soul are holy!

...

Holy forgiveness! mercy! charity! faith! Holy! Ours! bodies! suffering! magnanimity!

Holy the supernatural extra brilliant intelligent kindness of the soul!

This is a great film. And those are great words to remember as the credits roll.

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