Lee Raybon (Ethan Hawke) is a “truthstorian”. How to explain that proudly self-applied title? A historian, but also an investigative journalist with an inherent distrust of mainstream narratives? A maker of trouble for trouble’s sake? Or one of those fantasists whose home contains a huge mood board (current mood? Paranoid!) covered with photos of suspects and newspaper clippings and various strands of a conspiracy connected by pieces of string? Raybon actually has one of those. “I’m a very visual thinker,” he says. His scathing former business partner Wendell (Peter Dinklage) sees it differently: “It’s like you read one Oklahoma history book and then made a junior high collage out of it.”
This exchange is typical of the alacrity with which The Lowdown cheerfully undercuts itself. Sterlin Harjo’s Tulsa noir is brilliantly elusive in tone. It allows Raybon, its nominal hero, precious little dignity. Raybon is, in many ways, a ridiculous man. His marriage is in ruins. He puts his sweet, resourceful daughter Francis in danger by mixing business and parenting. He’s one of the least physically imposing renegades you’ll ever meet (“How does an adult with a gun get put in the trunk of a car?” wonders his associate Cyrus at one point). He isn’t Woodward or Bernstein, he’s Jeffrey “The Dude” Lebowski with a sympathetic editor and a political agenda.
