DVDFile

To borrow a line from former DVDFile reviewer Dan Ramer, Kevin Smith amuses me. He always has and he’s remained a director I’ve faithfully watched grow and mature over the past 15 years since his unforgettable 1994 independent feature film debut, Clerks. While his films have varied in quality, I truly don’t think he’s helmed a complete misfire. Heck, I even enjoyed his touching Jersey Girl which sadly got lost in all the media hype surrounding co-stars Ben Affleck and Jennifer Lopez at the time of its release. While his films can be scatological and crude, to me his works also aren’t as boldly offensive as some of the more recent Judd Apatow-inspired comedies. I think it’s because Smith’s work always seems to be anchored by his own personal vision and beliefs (having grown up an Irish Catholic) and his own admiration for the films of the late, great John Hughes — movies that at their core have a heart.

While some of his more recent movies have already been given proper Blu-ray releases, we’re now finally getting some of Smith’s earlier gems on the BD format, and Miramax has just bowed his stellar directorial debut, Clerks, and his crowning achievement, Chasing Amy — both for the first time on high-def. What’s more, they’ve boxed the two titles together with the previously released Jay and Silent Bob Strike Back in a neat little three-flick boxed set. While the latter film is the same 2006 BD release, Clerks and Chasing Amy offer some different and new bonus material in addition to the benefit of getting an upgrade in video and audio quality. But more on that later … first, for the uninitiated, here’s a quick recap of each film culled from previous DVDFile assessments:

Clerks (1994): Writer-director Kevin Smith struck gold with his impressive low-budget debut which essentially takes place within the cramped confines of a local convenience store over the course of one harrowing day. Based on his personal experiences of working in a very similar corner store, Smith shot the movie on a shoestring budget in grainy black-and-white … but it was his strong and insightful script that made people really take notice. Smith’s streetwise style seems to be a unique combination of David Mamet’s ear for verbal exchanges and Quentin Tarantino’s penchant for movie references — all filtered through his own New Jersey sensibilities. While Smith would gradually mature as a visual storyteller, his keen screenwriting skill was already honed to perfection the first time out of the box.

Dante Hicks’ (Brian O’Halloran) boss summons him to the Quick Stop on his day off when another employee phones in sick. It’s a typical day. Randal Graves (Jeff Anderson) mans the video store. Jay (Jason Mewes) and Silent Bob (Kevin Smith) loiter outside as Jay does a little dealing. College dropout Dante is overqualified for his job, made clear by his reaction to customers who range from outrageous to foolish to stupid. Like the customer who examines every egg, or the one who pulls all the milk containers out of the refrigerator case searching for the latest expiration date, or the one who cons his way into the employee bathroom with a porn magazine. But Dante sucks it up, attempting to be mature and responsible.

That can’t be said for Randel. He’s impatient and rude, his disdain for his customers and those in the Quick Stop glaringly clear. We come to understand these guys through a slow and deliberate revelation of their backstories — particularly Dante’s — as friends and acquaintances drift in and out of the stores all day to interact. Dante is hiding from life, still wounded from breaking up with Caitlin Bree (Lisa Spoonhauer). Despite the devotion of Veronica Loughran (Marilyn Ghigliotti), Dante simply can’t seem to get it together. The clerks’ lives become clearer as we watch Dante and Randal relate to one another. Randal is Dante’s best friend and conscience, frequently offering unsolicited advice that’s on the mark. Alas, Randal’s good intentions also create conflict and tension. This microcosm of a single day will become a life-altering experience for Dante; he will not be the same man who was roused from bed seventeen hours earlier.

The dialog is crude, but it strikes a note of authenticity. Kevin Smith has a wonderful ear for the spoken word, its rhythm and content. Critic Dave Kehr of the Daily News may have put it best when he wrote: “A blend of Howard Stern and David Mamet.” The actors are young, inexperienced, and all too frequently amateurish. Many of their deliveries are unconvincing, and yet, the laugh out loud situations and brisk dialog make this film consistently appealing.

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