The actor’s turn as the famous Hunter S. Thompson may not be his most notable, yet it’s anything but forgettable.
Hunter S. Thompson was one of the most legendary journalists of all time, responsible for the creation of a kind of stream of consciousness reporting eventually coined “gonzo journalism,” which is still fascinating to get lost in. Bill Murray remains one of the film world’s most genius screen performers who is able to mix deadpan hilarity, outrageousness, and some truly fine acting. Finally, Art Linson is one of cinema’s most respected producers who is responsible for bringing a number iconic and beloved titles, including Fast Times at Ridgemont High and Fight Club, to the screen. Why then is a film which showcases all of their respective talents so little-known or (in certain cases) barely acknowledged? It doesn’t take long after Where the Buffalo Roam to discover the answer to that question as the aforementioned individuals conspire to create one of the most off-the-wall movie experiences of all time.
Directed by Linson from John Kaye’s script, Where the Buffalo Roam attempts to make sense out of Thompson’s (Murray) personal recollections featuring escapades between him and his lawyer Lazlo (Peter Boyle), a figure almost as crazy as the writer himself. The film follows the pair as they find themselves in one adventure after another, including the Super Bowl and the 1972 presidential election.
Kaye’s screenplay isn’t short on scenes which are ripped straight out of Thompson’s work, with gonzo touches popping up in ways both big and small. The film opens with Thompson in his living room while a dummy with a Richard Nixon mask on its head stands tied up in the corner. There’s definite humor at watching Thompson’s dog attack the dummy when his says “Nixon,” rewarding him for it afterwards. What the film manages to consistently do right is to not overplay these larger than life elements, but rather let its audience discover them on their own, thereby making them all the more effective. Moments such as Thompson having Wild Turkey in his IV drip while staying in a hospital and parking his car in the mayor’s space score as jokes because they are each allowed to play out naturally. Conversely, the moments in which Where the Buffalo Roam misses its mark is when it tries to be overly funny. The scene where a nurse at a blood drive asks Thompson if he would like to donate blood is turned on its head when the crazed journalist takes the needle and forces the elderly woman to donate her own blood instead. The end result is awkward and ultimately just not funny. Slightly more effective is the scene in which Thompson decides to cover the Super Bowl from his hotel room by convincing a bellboy and maid to play football in the middle of his suite and using it as coverage for his article.
There are enough moments throughout the film which recall the comedy stylings of something like Airplane! but don’t fully work when trying to capture the essence of Thompson himself. Where the Buffalo Roam is fun and lightweight at times, but it isn’t Thompson. Then again, nothing really is. One reason for the film’s lacking qualities was that it was maybe a time period too late. One gets the feeling the project would have had better mojo had filmmakers tried to make a film about Thompson in the ‘70s. From a narrative standpoint, Where the Buffalo Roam is a hard movie to follow that’s made all the more difficult because of the re-shoots it underwent, while the aid of Murray’s great narration only helps so much. For the most part, the whole exercise can’t help but feel like an SNL skit at times, mainly because of its lead actor’s involvement with the show and the way the film flows unpredictably from one sequence to another.
A number of interesting character actors turn up throughout Where the Buffalo Roam, but truthfully, it’s hard to notice anyone but the two leads. Thompson works perfectly as a role for its star. Watching one of the journalism world’s greatest figures being portrayed by one of the film world’s wildest actors alone is worth watching the film, especially given how much commitment Murray gives the role. As his legal counterpart, Boyle is a bit miscast as Lazlo; even so, he’s never anything short of interesting to watch, much like the movie itself.
There’s enough dialogue in Where the Buffalo Roam which perfectly captures the spirit of Thompson while also making for an interesting screenplay. “I hate to advocate drugs or liquor, violence, insanity to anyone,” the main character states at one point. “But in my case its worked.” The film also manages some telling commentary in the scene when Thompson encounters Richard Nixon in a men’s room. The scene, supposedly written by real-life writer himself, works on its own, but feels out of place with the rest of the film, itself entirely out of place with reality. Thompson film adaptations have never been without attention, from the continuous praise bestowed upon Fear and Loathing in Las Vegas to the instant dismissal of The Rum Diary. At the end of the day, the fact remains that Thompson is such a difficult writer to adapt, so in a way, any film version works on a certain level as long as it captures that scattered, free-flowing, bonkers nature that made him a legend.
The Package
Apart from the trailer, there’s a 40 minute interview with Kaye where he recalls the making of the film in depth from conception to release, chronicling all the struggles that went on behind the scenes.
The Lowdown
As nonlinear as they come, and as unforgettable as can be, Where the Buffalo Roam stands like no other kind of movie experience.
Where the Buffalo Roam is now available on Blu-ray and DVD from Shout Factory!
