Some twenty or so years ago, Charles Bukowski was a hero of mine. I blindly accepted the image that was created by intellectual types and seen in various films. Of course, I never got to meet the intellectual types that prescribed Bukowski as a hero. They usually could be found safely behind the counter at hipster video stores and record shops. These people hardly talked and when asked a question, usually sneered and nodded in some vague direction. They were useless when it came to locating a specific title, but their shelves were always stocked with strange and unique titles. To be inducted in the secret hipster club, I believed I had to shed my bourgeois up-bringing and espouse the counter-culture.<br /><br />My introduction to Bukowski started with the movie Barfly, the late 80's film that starred Mickey Rourke and Faye Dunnaway. I was a fan of Rourke at the time. He also embodied a sort of modern male fantastical anti-hero, a brooding intellectual type. At the time, this appealed to me. Barfly's hero scoffed at convention. A mid-30's tramp, who lives life with no ties, answers to no one, --Oh--and to be recognized as a genius by a hot female literary snob, icing on the cake. Afterwards, I read Post-Office and Hollywood, the later being Bukowski's take on his experience with the film.Now, allow me to fast-forward to the latest film based on Bukowski's book Factotum, one which I read and enjoyed. Bukowski takes the form of Chinaski in this novel. I often wonder where Bukowski ended and Chinaski began. 20 years after Barfly, the fictional movie Bukowski is still the same. I have watched about an hour of the movie and I have yet to see signs of the facade cracking. Here is why Factotum Bukowski was my hero. Chinaski is handsome (played by Matt Dillon). He has clean neat hair, styled, but not over the top. When Dillon smokes and writes, he looks cool. Chinaski goes from job to job, ignoring and/or fighting with various bosses. He screws two floozies, one of whom he lives with, walks out on, only to return to with little repercussion. Chinaski is his own man and we never see him emote. He's a sterile, one-dimensional, 30 something, James Dean archetype. Factotum lies to the viewer. It does so by haranguing the idea of a man (a writer) without consequence. A poor man, who's suffering for his art. What could be cooler than that? Now, let's say there are some truths to Factotum, in that the events took place. What the audience is missing is the pain that shrouds Chinaski's existence. Maybe the point of this movie, and most movies, is that for 80 mins., we need to escape the world that's filled with consequence and pain and take-up vicariously with an anti-social womanizer, that smokes, talks, drinks with detached coolness. One who rejects conventional behavior of job and family. My hero used to be Movie Bukowski. Long ago, that would have worked. It was easier then. Now, I have yet to claim a hero. Things are not as easy. Hipster logic and movie renditions of counter-culture icons offer no solutions or even ask questions.