What a wonderfully lurid, sleazy, twisted southern jewel this 2012 film from Lee Daniels is. Replete with off-beat characterisations, pointless diversions, and a swampy, murderous atmosphere, this is certainly a film that defiantly marches to its own beat. Does it have mass appeal? Not on your life. Is it packed with unsavoury elements sure to repel certain audiences? Yes, yes, yes!
In the 1960’s a lawyer, Ward Jansen (Matthew McConaughey), returns to his small Southern home town to investigate the case of a man, Hillary Van Wetter (John Cusack), he believes has been wrongfully arrested for murder. Aided by his Miami co-worker, British writer Yardley (David Oyelowo), naïve younger brother Jack (Zack Efron), and the woman, Charlotte Bless (Nicole Kidman), who, through letter exchanges with men in prison has finally settled upon Hillary as her perfect man, Ward begins to dig deeper into the case. The whole deliriously colourful episode is viewed as a flashback and narrated by the Jansen family’s all-knowing maid Anita (Macy Gray).
Though the narrative clearly plays second fiddle to the characters that heedlessly drive it along, a rough, raw vitality is what energises Daniels’ left-of-centre vision for adapting Pete Dexter’s novel to the screen. This rawness is also reflected in the often unconventional visual approach which sets a dulled, dirty colour scheme against strangely incongruous perspectives. You could argue the whole project has been haphazardly wrought but the approach feels daringly original in its own crazy way.
There are memorable scenes aplenty, including the notorious but hilarious urination scene involving Charlotte and Jack, and another vividly realised sexual encounter of sorts in the jailhouse. But it’s the work of the performers that will linger longest in memories. For McConaughey this the continuation of a hot streak which peaked again around this time with William Friedkin’s Killer Joe (2012). Efron proves he’s capable of striking out successfully against his wholesome image whilst negotiating some tricky scenes with Kidman. Then there’s the startling Cusack who blows perceptions of his once romantic lead status to smithereens.
But it’s Kidman who shines brightest; her daring, luminescent turn is a wonder to behold. Rarely has she been more magnetic on screen, channelling every white trash vixen from a back-catalogue of Jerry Springer specials. Offensive, demented, lazily plotted and overflowing with extraneous lurid asides, The Paperboy (2012), for all its shortcomings, is at least a memorable, deliriously idiosyncratic concoction.