THIN ICE
A film review by James Berardinelli
Copyright 1995 James Berardinelli
RATING (0 TO 10): 7.0
United Kingdom, 1994 Running Length: 1:28 MPAA Classification: No MPAA Rating (Mature themes) Theatrical Aspect Ratio: 1.33:1
Cast: Charlotte Avery, Sabra Williams, James Dreyfuss, Claire Higgins, Guy Williams Director: Fiona Cunningham Reid Producer: Fiona Cunningham Reid Screenplay: Geraldine Sherman and Fiona Cunningham Reid Cinematography: Bellinda Parsons Music: Diana McLoughlin and Claire Van Kampen No U.S. Distributor
THIN ICE is sort of a low-budget, lesbian version of THE CUTTING EDGE, and represents one of the better gay romantic comedies to obtain some form of theatrical release. Using the skating rink as a backdrop to character and relationship development, this movie traces the lifestyle changes of one young woman as she re-evaluates her sexual identity. THIN ICE is fresh, breezy, and never condescending.
Although this movie involves skating, it's not really about the sport. Unlike THE CUTTING EDGE, which featured extensively choreographed routines performed by professional skating doubles, THIN ICE uses the actors for every scene, and this means the level of difficulty remains low (for example, there are no jumps). In total, very little time is spent on the ice; the Gay Games competition is really little more than a plot device to bring the two leads together. It's the common ground where their vastly different personalities can mesh.
Steffi (Sabra Williams) has enrolled as a pairs skater in the 4th Gay Games in New York ("It's our version of the Olympics, only bigger and more disorganized"). There's a problem, though: at the last moment, the other member of her same-sex duo has backed out. Now, in order to participate, she has to find a new partner, but candidates aren't lining up, and time is getting short. As a last resort, she approaches Natalie (Charlotte Avery), a supposedly-straight young woman who has more love of the sport than talent in it. As the two cram months of practice into weeks, a friendship -- and perhaps more -- develops.
For any romantic comedy to work, a degree of effective chemistry is mandatory between the leads. THIN ICE has this intangible quality. Williams and Avery, both giving unforced performances, work well together and, while there's never much overt sensuality in the relationship, it's not difficult to believe that Steffi and Natalie are in love, even when neither is able or willing to admit the truth. The two actresses form a comfortable bond with each other and the audience.
THIN ICE faithfully follows most of the expected romantic comedy formulas, doing everything with two women that a heterosexual love story might do with a male and female. There's the falling in love period, followed by the break-up, then rounded out by the inevitable scene where all is forgiven and the lovers get back together. Along the way, several subplots surface (most dealing with Natalie's family life) that don't add much value to the overall story. An appearance by Sir Ian McKellen (playing himself) lends a little "star power" to the proceedings.
Fiona Cunningham Reid, who directed, co-wrote, and produced the film, keeps the tone mostly light and playful. While she clearly wants to highlight gay and lesbian issues (as shown in scenes such as a visit to the AIDS quilt), she's ultimately more interested in developing the romance. Fortunately, that's where THIN ICE is at its strongest, and most of the running time is used in the advancement of this strength. If there's one message Reid is trying to convey (and it applies to those of all sexual persuasions), it's that true love is so hard to find that when it comes along, people should be open to changing their lifestyle to fit their lover rather than changing the lover to fit their lifestyle.
- James Berardinelli (jberardinell@delphi.com)
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