"In this loose adaptation of Shakespeare's "Henry IV," Mike Waters (River Phoenix) is a gay hustler afflicted with narcolepsy. Scott Favor (Keanu Reeves) is the rebellious son of a mayor. Together, the two travel from Portland, Oregon to Idaho and finally to the coast of Italy in a quest to find Mike's estranged mother. Along the way they turn tricks for money and drugs, eventually attracting the attention of a wealthy benefactor and sexual deviant."
I truly don't know what to say about this film. The concept of basing a rather directionless film around a gay hustler who falls asleep without warning in strenuous conditions, well it seems like the film would be short. But Mike (played by River Phoenix) is not alone in his endeavours and has the occasional support from fellow hustler Scott (played by Keanu Reeves).
Despite the film basing itself around Mike, he doesn't necessarily play much of an active role in the film. With his frequent bouts of narcolepsy rendering him present physically but not mentally throughout many of the activities of the film. With the film loosely adapted from a Shakespearean play, the narcolepsy plays a nice role as a scene ender and starter, allowing Mike to transport from one location and time to another without having to show the actual travel.
Unable to be forced to face any of his demons without the narcolepsy cutting in, Mike plays more of a spectator role in his own life, and as such, the film actually hinges more on the actions of Scott. Unlike Mike, who comes from a broken family and is hustling on the streets to survive, Scott comes from a wealthy family has made a choice to hustle to increase the dramatic nature of his redemption arc when he returns to the family. These opposing family situations are a source of conflict in the film, but also allow for more flexibility in paths the film can follow.
There is a care-free nature to Scott's character, which comes about from the lack of a like-or-death living situation, and it gives his character the ability to support Mike in his search for his mother when splurging on international flights would be a no-go for the usual hustler. This aura of positivity leads to a number or romantic story arcs which--along with the ever-growing disparity in their future wealth--culminate in the eventual climax of the film.
The film moves from location to location but frequently finds itself gravitating back to a deserted highway in Idaho; back to this vast, uncompromising, and inescapable area. Watching the clouds cruise by as time passes thanks to another narcoleptic episode.
There is a lot of imagery thrown into the film with crashing barns, repetitive imagery of pink fish, and artful sexual poses, but the main appeal of the film comes from this friendship that is shared between Mike and Scott.
There is an inherent melancholic sadness to the film as well as a rebellious streak that fights back against conformity. It creates a visual spectacle of simultaneously unrestricted, yet unrequited love that will polarize its audiences but will more likely endear itself thanks to a campfire scene that manages to capture unmistakably authentic emotions.