There’s an old proverb that claims “the road to hell is paved with good intentions”: This expression could practically serve as the mantra for any artistic endeavor ever created. Being an artist is never easy, and making art that people will actually want to invest their time and money into is practically impossible. If you have ever considered starting a novel, writing a script or filming a movie, one of the first questions that jumps to your mind is the question of originality. Consequently, the subjects of creativity and artistic integrity functions as the thematic foundations of Peter Parlow’s film “The Plagiarists,” which despite its somewhat ominous title, could not be less sinister if it tried.
The plot of “The Plagiarists” centers on two young artists, Anna (Lucy Kaminsky), an aspiring novelist, and her boyfriend Tyler (Eamon Monaghan), an ambitious filmmaker. After their car breaks down on a weekend getaway, the couple is taken in by the mysterious Clip (Michael “Clip” Payne), whose wise insights and possible plagiarism changes the lives of the couple.
Clocking in at a swift 76 minutes, “The Plagiarists” assumes no pretensions about its aspirations to be a tongue-in-cheek commentary on independent film and millennial artists. In between characters’ references to Dogme 95 and Steven Soderbergh, you’ll pick up on enough academic vocabulary to fill a full-length philosophy textbook from NYU. With the plot—technically, the word “plot” implies a story is being told, so maybe “premise” is a more apt term—serving as a catalyst as opposed to a cornerstone, “The Plagiarists” roams free to espouse on whatever it pleases. However, this lack of clear direction does not lend itself to any worthwhile revelations or even insightful observations.
If the word “mumblecore” is a term you are familiar with, you will know exactly what to expect from “The Plagiarists.” Recorded on Betacam SP videotape, the movie resides in a visually gritty interspace located between a film student’s thesis project from the early 90s and someone’s embarrassing home videos. The camerawork fluctuates between messily pleasing and commendably amateur, though the cinematography is possibly the film’s finest characteristic. Conversely, the film’s themes, which primarily revolve around racial prejudices and the sanctity of art, never tie themselves off in a satisfying manner.
Although the movie operates on a level of borderline parody, “The Plagiarists” carries itself with an oppressive sense of self-importance accompanied by an irritating sense of irony. Do not be mistaken, “The Plagiarists” knows exactly what it’s doing. From the over-educated, white artist stereotype found within countless independent features to the total nonexistence of conventional story structure, the film is a perfect example of unintentional hypocrisy.
Nevertheless, what ultimately sabotages the overall effect of “The Plagiarists” is that Parlow and company confuse intellect for entertainment. Every artistic choice, despite its intentionality, feels forced. Both style and substance lend themselves to establishing a historically informed, but emotionally detached understanding of cinema. Instead of crafting a respectful love letter to the type of films it repeatedly mimics, “The Plagiarists” opts to take the route of arguably mean-spirited mockery, but seems unaware, or at least unconcerned, with its equally egregious flaws.
The idea of creating a microbudget independent movie that critiques the clichés of the genre, if executed correctly, approaches the coattails of genius. Yet, some hint of entertainment for viewers should exist, or else, what is the purpose of making a film? Granted, filmmakers are not required to abide by preexisting guidelines—some of the medium’s greatest works stem from decisions to shatter conventions. But, it is debatable that most of those films retained respect for their audiences, and unfortunately, “The Plagiarists” rarely hints at being made for anyone apart the individuals involved.
In all honesty, “The Plagiarists” is a fantastic idea that is irredeemably marred by poor execution. There is a genuine sensation of effort on screen and a select few of the ideas the film touches upon are outright brilliant, but the product still falls remarkably flat. Overall, the creative team should be congratulated on trying to accomplish a feat this ahead of the curve, but “The Plagiarists” never looks past its own nose long enough to notice that what it has to say is falling on deaf ears, or is maybe not speaking to anyone at all. [D+]
