A LITTLE STIFF toured festivals in 1990-91 but waited until 1994 to debut on home video, a low-key profile for a humorous bit of movie minimalism that makes Jim Jarmusch seem skittish by comparison.
Recent UCLA film grad Caveh Zahedi, who resembles a young Jeff Goldblum, more or less plays himself as awkward student filmmaker "Caveh Zahedi," who's suddenly smitten by pretty co-ed Erin (Erin McKim). She's friendly enough, and Caveh shyly tries to make his move by casting her in his latest
cinematic project. But during the shoot Erin is equally chummy, even flirtatious, with Caveh's crew, leaving the budding auteur confused and hurt. Erin enthuses about exotic hallucinogens, and, deciding that the way to a woman's heart is through the drugs she takes, Caveh nervously buys some tabs
of LSD. That indeed brings Erin to his door--with her steady boyfriend in tow. Caveh throws them both out and trips, unhappily, by himself. Later over the phone he amicably breaks up with Erin, taking for granted that they were ever together in the first place.
Shot on contrasty black-and-white 16mm stock at a cost of $10,000, A LITTLE STIFF was the fledgling feature from Zahedi and partner Greg Watkins (also onscreen as "Greg Watkins"). The picture isn't above the self-referential myopia of many productions by struggling young student filmmakers;
following the dubious truism that they should make movies about what they know best, beginners too often limit their little tales to the trials and tribulations of ... struggling young student filmmakers. A LITTLE STIFF stands out from the classroom crop, however, for its remarkably disciplined
and severe technique. Scenes unfold in long, single takes from a precisely-placed, generally stationary camera, as performers enter and exit the frame. A few shots fixate on a single object, with offscreen dialogue the only action. Viewers will either be bored out of their skulls or, preferably,
concentrate on the most minute details in the austere narrative, in which case they'll be rewarded by the subtly funny tics and quirks of the movie's nervous but personable Caveh, his fruitless romantic pursuits, and his philosophical ramblings. Following A LITTLE STIFF, Zahedi, directing solo,
did the similarly diary-like I DON'T HATE LAS VEGAS ANYMORE, relating further how his filmmaking and obsessions affect and irritate his circle of friends. (Substance abuse, profanity.) leave a comment
