I was fortunate when it came to viewing Vernon, Florida. It's a very small world in Hollywood and outside of that circle it seems you're lucky to know anybody. In documentary film-making I'd imagine that world shrinks even further with the film maker's and assistants spread out few and far between. While studying film production in West Palm, Florida I was lucky enough to have a teach who was a former student of Errol Morris. My opinion must have been in favor of thumbs up for Vernon - simply because our class was given more insight. An average viewer might shrug and scoff "Vernon" for being just an hour or so worth of candid interviews with crazy local yocals who have such a distorted view of reality their opinions just seem ludicrous. With a small introduction by Morris himself and highlights of Vernon by our teacher Mike -- the experience was more nostalgic, like watching embarrassing home movies of people you know. There's more behind "Vernon" then I think people realize, And much more explicitness to the likings of Snake the turkey hunter and others. The real crime here is that almost no one will ever know about it. The subtext sort of hangs in limbo because there's no narration and only so much we can learn about these people that they're not willing to reveal on their own. Still, this is the early work of a master docu film maker. It's the earliest example of how Morris' favorite angle for the depiction of society is through the wormhole everyone seems to hide the dark side. Something he explained with almost shocking tenacity in Mr. Death - perhaps his best work. Vernon, Florida is a freakfest, a splash of cold water that reality doesn't look the way you think it does. It's flat and unblinkingly straightforward and best of all... like it's characters, it doesn't seem to care in making much of a point, which ironically is the point itself.
