AUSTIN FILM FESTIVAL 2012
By Don Simpson | November 6, 2012
Director: George Anson
Writer: George Anson
Starring: Gabriel Luna, Verity Branco, Blaise Miller, Sonny King, Heath Allyn, Sarah Arnold, Ashley Atwood, Bruce DuBose, David H. Hickey
The titular Eddy (Gabriel Luna) is a low-life, good-for-nothing hoodlum who seems unable to do anything but make really bad life choices. It all starts when he finds himself in debt with a local mobster whom he must pay $7,200 by 5:00 pm today. Since Eddy is not the type of guy who has $7,200 stashed away in a bank account or mattress somewhere, his only option is to steal from the proverbial Peter to pay the proverbial Paul; but as with all of Eddy’s decisions, that one does not work out very well for him. It is not long before Eddy is running away to Mexico-by-way-of-West Texas; of course then he stumbles into even deeper trouble (involving a clever gag about a bank that gives away guns to new account holders), eventually landing himself in jail.
Not to discredit actor Gabriel Luna’s talents, but writer-director George Anson’s Spring Eddy becomes more interesting once Eddy is jailed; because once Eddy takes a backseat in the plot, that serves as a catalyst for Spring Eddy to evolve into a quirky small town ensemble piece. Eddy’s fiancee Jeannie (Verity Branco) arrives in this small West Texas town to either bail or bust him out of jail. Sheer coincidence leads Jeannie to meet H.R. (Blaise Miller), a hapless divorcee who removes sewage from septic systems as his career. (Jeannie and H.R.’s love/hate relationship is by far the highlight of the film!) All the while, Sydney (Bruce DuBose) temporarily detours from tailing Eddy to enjoy a romantic foray with a local (Yesenia Garcia). Then there is a sympathetic local sheriff (David H. Hickey) and his little dog in the center of it all.
Spring Eddy is a meandering — maybe a bit too meandering — tale that centers around the inevitability of fate and destiny. Like pawns on a chessboard, the film’s characters do whatever is preordained for them in order to continue the narrative of their lives. The question remains: Will audiences find this approach to be too much of a directorial crutch?