‘I’m Not Even Supposed to Be Here Today’: Celebrating 30 Years of Clerks

In 1994, a young filmmaker named Kevin Smith premiered his screenwriting/directorial debut Clerks at the Cannes Film Festival. Shot on a light $27,000, the entire thing was staged in an old convenience store where Smith worked, and used only a handful of principal actors and extras. Moreover, rather than creating a traditional plot, he merely observed his characters as they talked sex, hockey, dating, their general disdain for customer service, and the bizarro behavior of their clientele. The movie was an instant hit with festival audiences and cemented Kevin Smith as a name to watch. Thirty years later, how does it hold up?

In Case You Didn’t Know…

The setup follows a twenty-something slacker named Dante Hicks (Brian O’Halloran), who gets called into work on his day off. Over twenty-four hours, Dante begrudgingly deals with customers who run the gamut from strange (like the guy who sorts through all the eggs in a carton to make sure they’re extra durable) to obnoxiously disruptive (like the guy that stops anyone buying cigarettes to advertise gum). He also shoots the breeze with his buddy Randall (Jeff Anderson), who works at the video store across the street, argues with his girlfriend Veronica (Marilyn Ghigliotti), and even closes down the store midday for a hockey game up on the roof.

Why Did It Work Then (And Why Does It Now)?

From the word go, as outrageous as these conversations can be, they also reveal quite a bit of character. Dante is insecure, self-absorbed, and fails to take responsibility for his current state in life. Randall doesn’t have any delusions about himself or his predicament. Is it the best? No, but he’s mostly content. Veronica loves and supports Dante, but pushes him to go back to school to reach his full potential, and doesn’t put up with his jealousy when the two get into a feud over revelations of her sexual past. Then there’s Jay and Silent Bob, who truly do nothing but smoke while Jay talks smack at anyone in close proximity. All of this to say, Smith crafts a distinct and engaging ensemble here.

Working Within Its Means

With such a measly budget, it’s a testament to the direction that this movie never gets boring, despite primarily staying put in the local Quick Stop where Dante works. Smith typically has characters engaging in some sort of movement throughout the frame, or has new characters enter the frame, and create oddball customer scenarios for himself and Scott Mosier to cut to. But because all the dialogue is so gosh-darn clever, sometimes he really is content to just set up a still shot and let the characters talk and talk. It may not have the visual poetry of, say, a Kubrick or Spielberg film, but it doesn’t need to; its characters and conversations are interesting enough that you hang on to their every word.

The Brains

While known as a delightfully profane and vulgar slice-of-life comedy, Clerks reveals some surprising and hidden depths as it progresses. In a nine-chapter structure much like the rings of hell in The Divine Comedy (a reference which inspired Dante’s name as well), Dante’s various encounters throughout the movie are designed to bring him to a profound acceptance. Acceptance that Veronica is the one he loves, not his high-school sweetheart Caitlin (Lisa Spoonauer). Acceptance that he alone is at fault for remaining where he is in life. But most of all, acceptance that it is possible for him to grow out of his childishly selfish and unaccountable worldview. That’s the true brilliance of the movie; while you’re laughing, it sneaks some nuance in there when you least expect it.

Closing Statement

If you have never once heard of or seen this comedic classic, get on it. Rent it on streaming, or buy it on Blu-Ray or DVD, or check it out on YouTube. However, you can, don’t miss out on this stellar film. If it’s been years since your last viewing, it’s time to revisit it. Get ready to experience the relatability, laughter, and insightfulness all over again.