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A penetrating examination of the daily routine of a group of inhabitants living in New York's subterranean
tunnel systems. The film is very much a human affair treading a fine line between compassion and objectivity
from a director who used to be one of them. It is this familiariarity and trust that enables Singer
to reveal the characters, their stories, heartache, sorrow and the ingenuity and triumph of their daily
existences. Far from being destitute, the inhabitants have appropriated
their own power, constructed housing and once even had running
water. They scavange off our disposable culture, feeding and clothing themselves and their addictions in a surprisingly
enterprising way. One of the inhabitants makes $60-70 in one day from collecting cans and bottles to recycle
(then takes "Thursdays and Sundays off to chill"). With their own cookers, TV's, food, furniture and
heaters scrounged
from our cast-offs we find an almost lost bohemia if it weren't for the health issues arising from
the damp, rat-infested conditions. There is a tremendous humanity lurking in their marginalization.
And this is the film's strength, it refuses to victimize or patronize
(although it is stated that 80%+ of the tunnel rats are/were crack addicts) but rather reflects without
prejudice or opinion. Ultimately it is the tunnel's inhabitants that
prove infinitely more human than their corporate counterparts at Amtrack trying to evict them.
What unfolds is a modern urban fairytale covering the past, present and future of our subjects. Their
indifference to the camera's invasion of every nook and cranny of their being makes the
film a fascinating success. There are moments of grandiose humour, daring logic and searching philosophy.
As extraordinary as it is simple: this is life.
My only criticism is that DJ Shadow's soundtrack sits uncomfortably on top of
such veracious insight at times - being so self-consciously cool (even snobbish) music. Also the
film's conclusion,
where the characters reminisce about their 'dark days' with a mixture of regret and shame as they look
toward the future is somewhat dismissive of their continuing struggles with personal demons and crack
addiction.
Instead Singer favours of a more upbeat, triumph over tragedy-style ending. However, the shot of
one man, as he stares
out the window of his new house, transfixed by the sunlight washing over his face is truly memorable
and in classic celluloid tradition, tells a thousand words. Unforgettable.
Dark Days is a funny, harrowing and marvelous achievement in documentary filmmaking.
RATING: (c)Limer 2001
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Dark Days (Cinema: April 2001)
