Doom Generation

The Doom Generation (1995)

9/10

Ambitious and Amazing but not for Everyone

10 January 2004

Few films on the database have elicited anywhere near the disparity of comments that The Doom Generation has received, along with an extreme bi-model vote distribution. While I hate to prattle on about hidden meanings and messages that do not exist or that are not intended, Araki (unlike most film makers) is sophisticated enough to actually put such elements in his films. And he does not strike me as so full of himself that he would do this with no purpose other than mind games. Therefore, I will elaborate on my own interpretation of what he is trying to convey with this film.

McGowen's character, Amy Blue seems to be symbolic of the concept of pure beauty, which could be considered our closest relation to a world that exists outside ordinary life. An idea that psychologists like Jung (influenced by Eastern religion) have imagined as involving a sort of "collective unconscious" that persists through time while actual generations of human beings are born and die. Making beauty our proof while we live that there is "something higher" than ordinary existence. Like when a composer creates a melody and attributes it to a higher authority because they can't believe themselves capable of bringing something that perfect into the world.

Some do not recognize beauty when they see it and some are inspired when they see beauty, but most must possess beauty-or failing to gain possession destroy it rather than share it with others. Protecting beauty from those who would possess it or destroy it is the focus of this film. Although Amy is able to disguise herself from most people (and from most viewers) behind a façade of bad language and grim 'attitude', she is occasionally recognized by those who would possess or destroy-illustrated by the characters that go into violent rapture when they see her.

(SPOILERS AHEAD) My guess is that Jordan White is a too pure angel sent to protect Amy, and that Xavier Red is an evolving Jordan as his purity is replaced with protective survival skills. This is why the police agency can only find Amy's fingerprints on file. Like Charlie Kaufman and his twin brother Donald in 'Adaptation', death of one part of the dual identity is necessary for an integration of the two personalities. Akai likes to leave his involved audience members with the feeling that they were dreaming while riding a roller coaster.

There are a lot of God-Devil images in this film, with '666' presaging another attempt to destroy beauty or the evidence of 'something higher'.

Araki films are often about things not being what they appear to be; and they require the viewer to sort out complexity and revelation in what appear to be one-dimensional characters undergoing no real change. For example the sex scenes in this film, which initially seem crude and graphic, actually have a strange sort of innocence if you get past your own preconceptions.

This film is ambitious and amazing but not for everyone.