Wednesday, 19 April 2006
Mysterious Skin (2004)
The earlier films from the director Gregg Araki concentrate mainly on nihilistic teenage angst and remain something of an unacquired taste on my part. While this film might be considered more of the same, it is considerably more maturely told and in its own way, moving. The story follows the development of two teenaged boys, both of whom had been abused when they were eight years old by the same paedophile/baseball coach. One of them, remarkably brought to life by the ex-child actor Joseph Gordon-Levitt, may feel something of an outsider being raised by his single mother, but he has accepted the past (or thinks he has) and raises petty cash as a willing hooker for sad, sad Johns. The other boy, an equally accomplished Brady Corbet (not an actor I can recall seeing before) has sublimated his experience into believing that he had been abducted by aliens. However the status quo can not remain. Gordon-Levitt moves to New York to join his childhood friend, Michelle Trachtenberg, and soon discovers that not all paid encounters involve pliable repressed men. (I wish to mention here the very brave performance by B-movie villain Billy Drago playing a gentle AIDS sufferer). Meanwhile Corbet has flashes of recalling his young baseball team mate, tracks down the now-chastened Gordon-Levitt and faces the true facts of his own odd behaviour and black-outs. What one doesn't know is whether either character will find the strength to face the future.
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J G-L was so gorgeous in this - really made the transition well from teen actor (actually his character Tommy in 3rd Rock was where I got the screenname partly) to beyond. They both do the angst well - of a past buried for one, and all too on the surface for the other. The scene with the mysteriously skinned AIDS guy was one of those great cinematic moments when you're fed a thousand thoughts.
It was definitely one of those films though that kind of brushes the line of acceptability/ taste though, as was the Woodsman, as in the seduction on the cereals. Both deal really well with the effect the past has on it's character's current life, and actually with the abuser too, making them a real person, so you see things from both sides, you can feel the pain, emptiness and wretchedness of both, but also the joy in thinking there's a time when they won't feel it so much any more.
Will they find the strength to face the future? I think the film's really set in the now, as for the future, it's left up to the viewer to decide, and that's the best thing, that's how it is.
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