The world has ended, the streets are bare, and only a few individuals are left fending for themselves, doing whatever they can to survive. Stan (Travis Mitchell), known by his radio moniker, Stan The Spinning Man, sits in a radio tower, with numerous cans of clam chowder, trying to pass the time and continue with life in as normal a way as possible. However, when radio silence turns to a conversation with a stranger, things for Stan will become unpredictable–and the mental struggle that follows will slowly rip him apart.
The set design of The Spinning Man is some of the best I’ve ever seen in a low-budget film. The room in which Stan sits throughout the course of the film is dingy, run down, completely dilapidated, and perfect for the film. Cracks in the wall, water damage, and a dirty floor allow every single scene to remain fluid, and to keep in tone with the rest of the film. Viewers are meant to feel sad and downtrodden as they watch Stan come to terms with his situation throughout the course of The Spinning Man. There are a number of factors that lead to this, but the set design plays the most prominent role in viewers accepting all that this film is.
It feels in some ways like a disservice to continue to mention the fact that The Spinning Man operated on a miniscule budget–but it’s a reality, and I believe it proves how talented this cast and crew are. Furthermore, what Writer-Director Jordan Rosenbloom creates with that tight budget is incredible. From set to acting, and cinematography to props, every piece of the production of The Spinning Man is nothing short of perfect. Isaac Berner is in charge of the cinematography for The Spinning Man, and from the opening moments all of the beauty that already exists is captured with precision and expertise. Stan’s facial expressions, the struggle that exists within him, and the set that exudes hardship are presented to viewers with great aplomb. As the story moves forward, every aesthetic aspect is brought to life beautifully–and The Spinning Man thrives as a result.
For the most part Mitchell is tasked with bringing emotion to the surface on his own–he’s often the only person on screen, and he must be the voice of the entire film. That can be a tall task, but Mitchell, much like everything else in The Spinning Man, does his job with unmatched vigor. He presents the world with one of the best performances I’ve seen in a long time. He holds his own, he nails every line, and the control that he has of his expressions is comparable to the greats. Beyond everything, Mitchell is the most impressive aspect of The Spinning Man, and, without a doubt, he was the best person for the job.
The Spinning Man is about the resilience of man, our struggle with mortality and mental health, and the way in which we deal with the hardships in our lives. It looks at the things we deal with on a regular basis, the things that aren’t always brought to light. However, Rosenbloom, Writer Ben Eisen, Berner, and Mitchell aim to shed light on these things, and they do so brilliantly. The Spinning Man is everything viewers could have hoped for and more, and it’s a touching tribute to all of mankind in both the simplest and most elaborate fashions.
Directed by Jordan Rosenbloom.
Written by Ben Eisen & Jordan Rosenbloom.
Starring Travis Mitchell, Booth Daniels, & John Mariano.
⭐⭐⭐⭐⭐⭐⭐⭐⭐/10
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