Father Geek here... our independant thinking, Camel devouring Massawyrm has finally shaken off the self-imposed shackles of recently acquired wedded bliss and has started watching film again, and more importantly... started writing again. It's nice to see those worn raw wrists have finally healed. Ol' Father Geek's advice: "Give that old four-post rack to someone with the power to resist the temptations of cold steel and hot leather." This current missive from our long haired blond bard is timely indeed, what with all the recent hard-news headlines concerning the "Church", suicides, coverups, and... oh, certain incidents of... well, let's say... misconduct. None of that nastiness deterred Massa from the darkened room that housed the screen on which The Dangerous Lives of Altar Boys was to reveal itself to him. Check out his thoughts on this below...
There’s something odd about coming of age films, something just a little left of center that prevents them from being mind blowing, perception bending films that garner praise with such words as “Awesome”, “Cool” or “Badass”. I cannot for the life of me remember a single coming of age film that made me walk out of the theatre swearing it’s praise or sent me running home to phone my friends about what I’d just seen (save maybe Kasi Lemmons brilliant and vastly underrated “Eve’s Bayou”, but that movie defies the nature of it’s genre and becomes something else entirely). What vexes me, however, is that while most of them quickly fade into scant fragments of memories, a few stick out in my mind and haunt me during late night cigarettes in the dark.
That’s the power of coming of age films. They don’t become part of your “Best of” lists; rather a good one can become part of your soul. It can reach down into your past and dig up memories, names, faces, stolen kisses, sunshine, grass and dirt, making you laugh at first because you get the joke and then sending you into a somber melancholy over things that had been long since forgotten. It can put into words all of the seemingly indescribable emotions that lay dormant and unresolved in your heart.
Such is the case with the new indie “The Dangerous Lives of Altar Boys.” When I first walked out of the theatre I thought “Huh, well that was a cute movie. It wasn’t bad, but it certainly didn’t wow me.” Then I chatted with some buddies about it and we all agreed “Good film. Nothing special.” But then the movie followed me home, forcing me to turn off the radio and listen to it as it spilled out my secrets, tearing apart my insides as it delved into the unexplored crevasses of my past. The characters stayed with me, revealing their own secrets, their own humanity as I found myself driving slower and slower so I could spend more time alone with them. The rich chemistry of the cast worked their craft and I was enveloped once more in the film, only this time I could feel myself in it. The screenwriter had singled me out and screamed to the world about my distant hidden angst, then the director carefully brought it all to the surface.
Before I go any further, there are a few things about the film I need to share for those of you unfamiliar with it. You see, this films only disadvantage is its title. “The Dangerous Lives of Alter Boys.” Quick show of hands…who thought this was a documentary about the clergy molestation of children? Yeah, me too when I saw the title on the screening list. But then I watched This, and I saw that this was something completely different. What is important to note is that Catholicism is not slandered in anyway in this film. There is no thought or mention of molestation nor are the Clergy in the film portrayed in a way that is insulting. Rather, this movie is very realistic. It’s about four comic book obsessed teens who go to a parochial school and two of them are, guess what, alter boys.
Now the other important thing to mention is that I was raised Catholic and attended a parochial school for a couple of years. I was a comic obsessed teenager. I was a troubled child who caused untold mischief for years until I wised up and chilled out. I very easily could have been one of the friends in the film. Thus this film hit remarkably close to home.
Now this is a coming of age film with a gimmick, a gimmick that may well be what brings many of you into the theatres to see it. The animated sequences by Todd McFarlane. ‘What’s up with the animated sequences?’ you ask. Well, here’s where gimmick turns to gold for this film. Each of the four kids has his own individual, self created alter ego, his persona in the groups comic universe that develops into a storyline in the mind of one of the main characters. At first it begins as just a comic book exposition, but soon transcends into the realm of internal monologue as we see Francis’s (Emile Hirsh) struggle with himself and his surroundings emblazoned upon the screen in all of it’s four color glory. This is what really hit home with me. You see this film made me remember my days of long ago, days before I went to college in search of a philosophy degree. Days before I thought about internal struggle and a definition of self in such analytical terms. Days when I just wanted to punch the shit out of someone to ease the frustration. Days I spent in a friends basement, secretly playing Dungeons and Dragons because our parents had all learned about the horrors of D&D from Pat Robertson and the 700 Club. Days when Vlentherior the Necromancer, my avatar in our fantastic world, stood side by side with Queliq the Dragon Slayer, a fighter and Corynth, the beautiful thief. Days when I would envision myself indestructible, wading through an army of the putrid scum that made my life a living hell day in and day out; at least, that’s how I saw them at the time.
Well, Quelig eventually slew every Dragon worth slaying and I hear Corynth has two kids and a nice fiefdom in the suburbs. And Vlentherior, well he eventually achieved godhood and became the deity of undeath and, like most gods, faded from memory into inevitable extinction.
Things were much simpler then. Things made sense in only four colors. There were good guys (of which I had to be one) and there were bad guys (of which everyone that cast opposition in my way must have been). Or at least, it seemed that simple. I certainly couldn’t go around and beat the shit out of anything or anyone, but in my mind my alter ego could.
And in Francis’s mind, that’s exactly what he does.
The comic book transitions are brilliantly placed, working both as a solid, lucid story, and as a mirror reflecting the events in Francis’s life. While this is not an entirely original idea (it was used to comic effect in the John Cusack, Demi Moore, Bobcat Goldthwaite teen classic ‘One Crazy Summer’) here it is perfectly conceived and executed. It is this gimmick that puts this film a notch above most other coming of age films.
What really makes this film, however, is the standout performances by its wonderfully talented cast. Emile Hirsh and Kieran Culkin are both delightfully mischievous and both turn in very real, convincing performances. But it’s the supporting cast that sells this film.
Jena Malone continues to prove that she is the actress we all thought Natalie Portman would be, continuing her string of risky film roles that put her in rather risqué parts. Yes, yes, she did Contact and Stepmom, both of which were very safe and visible roles. But she also did Donnie Darko and Life as a House, playing off kilter, disturbed girls in both. Here once again she plays the outcast lonely girl with a thirst for something different, only her character here is even more disturbed and depraved than any she’s played before. And she shines. Again. Every film I see this girl in I love her as an actress more and more. The depth she brings each role is refreshing. There is a beautifully scripted moment in which Jena explains exactly what it feels like to be young and foolish and it is one of the most profound truths I’ve ever heard in a film. She nails it. I can’t help but think that Jodie Foster is helping Jena to achieve exactly what she has: an amazing career stemming from childhood on into adulthood. Jodie Foster forged her career on risky roles, mixed in with some safe Disney ones, and went on to be one of the best actresses of all time. Jena is well on her way.
And of course, not to be outdone, Jodie Foster turns in a perfect performance as the detestable Sister Assumpta. Every moment that she is supposed to be strict and loathsome, she drips it from her tongue and lets it flow out of the screen to cover you with it’s sticky ooze. You want to hate her, you want to hate her so badly. And then there comes two moments, two completely silent moments where Jodie doesn’t speak a word and yet she exposes Sister Assumpta’s deeply hidden humanity. Her eyes, her eyes speak volumes that pages of script could never appropriately define. She puts every bit of talent she has into those moments and takes a character that could easily have been played as a two dimensional nemesis and transforms her into a dynamic force that helps drive the film. And the fact that Miss Foster produced this film as well only further illustrates her devotion to eclectic, thoughtful film. She’s a consummate artist and lover of the craft and she earns yet another gold star in her growing collection.
And finally I can’t get away with talking about the cast without a few words on one of the current kings of indie film, Vincent D’Onofrio. Here, despite a lack of screen time, he gives us the delightful Father Casey, a very comical, yet straightly played priest who offers the almost Zen-like yang to Sister Assumpta’s Yin. I knew this priest and he was a great guy. A chain-smoking, Mercedes driving comic book collector that also happened to give blessings and perform mass. This was the priest that turned me on to DC when I was living in a Marvel only world. While father Casey doesn’t appear to be a comic fan, deep down you know there’s something very cool about the guy. D’onofrio brings a great level of charm and a very subtle performance to a character that could have easily fallen into the background. Another outstanding character role in an already outstanding career.
All in all, this is one of those films that probably won’t get much hype this summer and will easily get lost in a season of presold, franchise mega hits. But if you’re a fan of coming of age films, or anything I’ve discussed strikes a chord with you about your past, then this is a film you should seek out and enjoy. C’mon guys, lets support some good, well crafted indie goodness.
Until next time friends, check out this cool website devoted to the film Just Click Here To Visit The Site.
And, oh yeah…
Smoke ‘em if ya got ‘em. I know I will. Massawyrm
