I address New Orleans and comments made by others as well as my film thoughts. Rather than a gay relationship, Bobby and Lawson are in a guild-ridden relationship that culminated in a drinking gig. Lawson showed immediate interest in Pursy when they first met at the door. The house was supposed to be a shotgun and didn't seem arranged that way. I didn't feel the heat and I live in it. The actors didn't sweat, their clothes weren't perspiration wet, and their faces were powder-dry. Without A/C and heat in these old uninsulated homes it is impossible to stay inside much. That is why so many people sit outside most of the time. When it was cold Pursy shared a blanket with Lawson. She was barefooted and he has no shirt on. Cold? Then she went to sleep and Lawson laid beside her, shirtless, with no blanket on them. In the cold no one huddled to keep warm. In the heat no one used used paper or cardboard to fan themselves. This was shot on two banks of the river because you see a levee and someone walks on it, down it and then all of a sudden they are on a small rocky spot near the water. In this city surrounded by levees, there is not one place that anyone can find a spot like that except on the West Bank. The bridge was seen in so many shots you would have thought that there were no highways leading to or ramps going up to the bridge. Just off Magazine Street there is access and the bridge is much closer in view. Since the clouds didn't move, the water didn't move, and the Twin Spans look like one span, this must have been an inaccurate matte background. Most likely there wasn't budget enough to repaint it. No one can walk that long straight, graveled walk anywhere off Magazine St. Then they take a streetcar Uptown. Why? They walk toward the lovely old mansion of the Latter Library. They never enter. There is no purpose. The scene changes rapidly to their home neighborhood. Why do they go to the Camelia Grill that is on Carollton Uptown? Off Magazine Uptown is only the world-class zoo, park, gardens and expensive homes. Drunks don't spend money on streetcars to go eat, especially with no drinks. Eating was not on Bobby's and Lawson's agenda. Pursy isn't anorexic. She eats junk like most teenagers. Drunks spend money on their booze and cigarettes in place of food. Speaking of food, what trailer trash from FL goes into a bar and orders red beans and rice? That her beer she ordered turned out to be a Coke was a mishap. More on beer. When Pursy joins the soirée in the weeds, she has just sat down and is told, "Drink your beer," which she suddenly has in her hands. The walks they take are not for drunks or those in this humidity. All these poor people are supposed to be off Magazine down where the seedier parts are and they take walks way Uptown in beautiful Audubon Park. That is where those beautiful, old live oaks are. The garden keeper tells Pursy the Oak she lies on was her mother, Lorraine's, favorite tree. All the men seemed to have loved Lorraine. There are things about her that make me think she might have had her life together, a singer but still poor. Maybe she did find solace away from the neighborhood Uptown on her tree. I can only assume that the walks past various, painted buildings and then a warehouse is not side by side but meant to be a portfolio of the varied architecture of the city. There are many areas like that and it would be a great move if this were done as if the buildings were part of a longer walk. The same scene is at the first and toward the end of the movie. This would have been a nice way to film the entire movie so it would not appear so disjointed. That style would have made a great indie film. I did buy Bobbie as a broken down drunk some of the time when he could stay in character. Lawson seemed a little too classy to be a drunk. Pursy was good trailer trash. Someone said he tried to have a N'Awlins accent, but he was from AL. This is an inbred movie. Grason Capps who wrote and performed such brilliant music is the son of first-time author, Ronald Everett Capps "Off Magazine Street." One of the producers is Scarlett Johannson's mother. This film didn't have a budget worth a dime; however economy didn't have to mean sloppiness. The cinematography was excellent. I hope shots of the walks past the various colors and types of buildings was New Orleans was not meant to be one after the other but a montage of the city. We are a city of little neighborhoods. From the book's title, it appears to want to dwell on the denizens of the down-trodden, who made up their own neighborhood. Leaving that neighborhood was not in keeping with the characters. If economy was the key, then all shots could have been done on one side of the river and one neighborhood and streets off of it. With some juxtaposition, the filming areas would have had meaning. It has such wonderful possibilities to make a movie in this city that really shows a segment of the city without exploiting the clichés, which this one, to its credit, it does not attempt to do. The cinematography and the musical score make for greatness. The film is so close to being a good indie film, but the director didn't have a handle on the scenes. Too bad. Goodbye Bobbie, Lawson and Pursy. You could have gone down in indie history as a cult film. It was all there (except for those dreary, predictable plot endings), but the director missed the barge.