Tater Tomater (1990) User Reviews (6)

Brilliant

[goodmanjm · 10/10 · 29 December 2006]

I have viewed this movie many times as I have showed it to college film classes and friends, and I still laugh every time I hear Beth Bostic's first "Tater? Tomater?" The editing in the section where Dynelle has just burnt the cornbread again and Mr. Bowen comes out to talk to see if Louise wants to take her dinner break now or later is rapid-fire and very effective. Also, the use of music throughout the film is subtle and compelling. My favorite part is (spoiler coming) when the boy turns over the glass of milk after Doris says "manipulator...decapitator...ejaculator." The screenplay uses wordplay and a keen sense of the absurd to make a real point about power. I hope someone 100 years from now watches this film.

Makes Sense In The Deep South

[richard.fuller1 · 10/10 · 1 February 2009]

When I first watched this program, I understood completely who all the characters were. They are not merely southern clichés, what they do and how they react are all recognizeable.

I half figured this thing would have universal appeal, with obvious commentary on how insignificant we can become in our lives. Clearly Doris was nothing more than a cog in the framework of the system; another brick in the wall; one of the workers in Metropolis.

But she also clearly displays her feelings about her situation; her expression to sloshing stewed tomatoes, her expectancy of disapproval to having to retrieve the serving spoon from the tomato bin.

Yet she had stronger moments as well. Her disinterest when the cashier tells her she is late, and when she shows no interest in going back to get her lunch with her ride.

These all lead up to the breakdown.

But then we also have Louise. Louise is a professional at her job. She knows how to do her work and she is skilled at it.

Louise stands as a true rarity in satire and film depiction.

Movies with Clark Gable as a daredevil pilot, Tom Cruise as a daredevil bartender, Deep Impact or Twister, all reckless rebels who are good at what they do, Louise mirrors them all.

She is the daredevil, reckless bread and butter server. Don't get in her way.

The program has a few flaws.

One is the work day. Apparently the workers work from sun up til sundown, highly unlikely, unless we want to read some commentary in this as well.

Also, it would be truly rare to find one lone black food server working in a place like this. That was all but disrespectful.

The shortness of the program excuses both of these flaws.

Truly my favorite moment was as Doris is in her "I'm as mad as hell and I'm not going to take it anymore" (one of the lamest corniest statements I have ever heard this side of 'stop the world, I want to get off') things proceed business as usual.

Such is the way it is.

Giggleworthy!

[copaiba · 7/10 · 27 July 2006]

Anyone with a sense of humor who has spent any amount of time growing up in the South would appreciate this short film.

The deadly boredom that reaches philosophical proportions and her desperation, as in despair, when she realizes on some level that this is all her life will ever be.

I don't know why this movie is so southern but it is.

The reason this short student film is on this database is that it is SO DAMN FUNNY! I saw this short over 10 years ago and I still get a little giggle in my chest thinking about it.

And, from a historical perspective, it shows the beginning of MacLachlan's mastery of southern character studies.

Slinger Blade

[tedg · 9 November 2005]

I'm coming to terms with the pulls in film that move an idea through production and onto screens. In fact, I revel in understanding what "sells" and what doesn't. Those economic forces meld with the others, cognitive, societal, stylistic, whatever, to make things what they are — what we see.

But certain situations elude me. Student films, for instance. Small projects that are for all intents student films.

I like these because sometimes they have clever ideas. Big films don't seem to have more ideas per film so when you are dealing with small ideas, small films are just more economical to survey. And it is fascinating to find a mature filmmaker and go back and see the scribbles made in cinematic childhood.

But for the life of me, I cannot figure out why some get on IMDb and some not. Recently I saw a great student film, one that I would recommend highly as a "real" short, by a Calum Ferguson. Good, No traction. You can't get it.

Now I see this. Sundance. TeeVee. And I wonder why.

This has no ideas, no skill, nothing to convey to me. It could have. The situation is one that had promise. And the young actress who is the hashslinger has that glue-damaged slur down well enough.

But no. No good.

Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.

Should have been shorter

[camachoborracho · 4/10 · 20 July 2005]

Tater Tomater is weird and it doesn't try to hide that fact. That's fine. But you may find yourself checking your watch many times wondering what the point is and when it will finally end because it feels much longer than it should be.

This would have worked well as a 5 minute movie in my opinion since we get the point and all the stuff at the beginning about the semi-moronic girl getting ready, leaving, getting into work, etc. was totally needless. It doesn't define her character any more than what we see in the restaurant.

If I were to edit it, I would have started from the point when she entered and the hostess says "you're late". Another thing, I don't think we needed all the reaction shots of the girl to show that she isn't all there and somewhat of a moron, it's quite clear. I thought the repetition part was an interesting idea and a lot of fun once she rhymes everything as she snaps, but then once the end arrives you're like "That's it?!!?"

Did she lose her job (I would think so)? Did she go crazy? What happened to the restaurant? Did she ever get home? I know it's a short but for a movie as long as it was it should have cut the stuff at the beginning and closed it better at the end.

I saw it at the Hammer museum near UCLA, so at least it was free. I also found the sound hard to hear. Don't know if it was the room's acoustics or the quality of the film.

4/10

Spectator?

[ranger-85125 · 31 July 2022]

I first saw this delightful little gem around 1990 at SECCA (The South Eastern Center for Contemporary Art) in Winston-Salem (where it was filmed) and very close to where I was raised near Greensboro. It was paired with another short film, "Confessions of a Southern Punk" and the filmmakers spoke before their pieces. We were told the film had been shown at Sundance and later, as related by Angus Maclachlan the screenwriter, people on the ski slopes could be heard repeating "Tater, tomater?" and giggling maniacally.

I've seen this movie too many times to count and shown it to any captive audience I could. But what is it about the film which makes it so memorable, even when you're not entirely sure what it is you're watching?

It's a character study, revealing in miniature a segment of southern culture we so seldom get to see. Long-suffering Doris isn't just trapped in her life, she's buried alive in it. Living with her overly-religious, passive-aggressive sister; surrounded by unlikable co-workers (save for one) who seem to enjoy keeping her at the bottom of the pecking order and forced to repeat the same two worded question over and over. She longs to break free and express herself.

And she does.

I also want to compliment the direction, staging, editing and music, all of which are perfect at setting the tone, which at times borders on the surreal. The camerawork alone shows an incredible level of creative guerrilla film making. (i.e. Attaching the camera to the door of the car as it is opened and slammed shut, genius.)

Everyone here not only know people like Doris, Louise & Mr. Bowen, but most likely have them in their very families. And while some might see this cast of characters as over-the-top caricatures, I can vouch they are not.

From Doris' mostly unseen sister with whom she lives, obsessed with making the perfect tomato sandwich, to the glad-handing boss, Mr. Bowen, to her ultimate nemesis, Louise, a control-freak obsessed with 'hars' in the blueberry muffins, the host of characters are like low-rent imps from Hell, or forgotten members of a carnival sideshow, just as trapped in their lives as she is, all fulfilling their prescribed roles over and over again and repeating their lines; "Butter? Margarine??" to an ever-changing but ever-the-same audience.

Finally Doris snaps. Her repeated mnemonic rhyming phrase seems somehow to shift her consciousness to a higher plane. Everything she says becomes a comment on everyone she sees, sometimes her insight bordering on the psychic. Rather than being at the bottom of the pecking order, Doris is obviously far more tuned-in to the seedy drama of the diner than anyone suspects. She labels everyone for who they truly are and brings their sins to light. Of course, her co-workers fail to appreciate her insight, and her boss sums it up by merely saying "She's just gone crazy." As if it was simply Doris' turn and sooner or later they'll all have their moment of clarity/madness.

If you don't understand this film or don't find it funny and even poignant, then you've never spent any time, and certainly weren't raised in the south. The piedmont dialects are spot-on, especially Louise. I never fail to LOL when she says; "Do you think she could do that simple, little thing?! Noo!" or when Doris' friend/sister (?) is pulling into the parking lot and the hubcap flies off in what had to be a serendipitous accident, or Kippi complaining about her fingernails "The sticky-stuff never stays stuck." with beautiful unaware alliteration. All of which is a perfect lead-in to Doris' first words. Up to this point we're not sure she even can speak or if maybe she's so beaten-down she sees no reason to.

But underneath the quirky characters and left-field humor is a glimpse into the life of a not-all-that atypical southern woman. A woman whose life, through no real fault of her own, is dictated by others. Beneath the razor-sharp observations of her 'episode' lies a profound desperation. As she lies "recuperating" in the stockroom the boy, Jimmy, who clearly has been paying attention offers one final comment, "Spectator?" As he does Doris smiles, and a single tear moves down her cheek. But whether it's due to her unhappiness, or frustration, or at finally being seen and appreciated by someone, we, the real spectators, are never to learn.