BEAUTIFUL THING
A film review by James Berardinelli
Copyright 1997 James Berardinelli
RATING (0 TO 10): 7.0 Alternative Scale: *** out of ****
United Kingdom, 1996 U.S. Release Date: variable (limited) Running Length: 1:30 MPAA Classification: R (Profanity, mature themes) Theatrical Aspect Ratio: 1.66:1
Cast: Glen Berry, Scott Neal, Linda Henry, Tameka Empson, Ben Daniels Director: Hettie Macdonald Producers: Tony Garnett and Bill Shapter Screenplay: Jonathan Harvey Cinematography: Chris Seagar Music: The Mamas and Papas U.S. Distributor: Sony Pictures Classics
For better or for worse, most gay-themed motion pictures have a political ax to grind. And, while that might appeal to those who enjoy movies that espouse a cause, it doesn't always make for the most entertaining time in a theater. In may ways, therefore, Hettie Macdonald's feature debut, BEAUTIFUL THING, is a breath of fresh air. Instead of politicizing the issue of two adolescent boys' homosexuality, it keeps the story intimate, and, even on those occasions when the tale strays into over-familiar dramatic territory, BEAUTIFUL THING remains steadfastly faithful to the characters it has created.
BEAUTIFUL THING tells of two teenage boys, Jamie (Glen Berry) and Ste (Scott Neal), who live next door to each other in southeast London's Thamesmead Estate. When Ste's chronically abusive father and older brother apply a fresh beating to him, he goes to Jamie's mother, Sandra (Linda Henry), for sanctuary. Ste ends up spending several nights in Jamie's room, and, as the days pass, the boys recognize a burgeoning attraction. However, each of them is apprehensive not only about acting upon it, but about even admitting it. Nevertheless, as others begin to notice the changing dynamic in their relationship, Jamie, the less popular of the two, becomes the target of his schoolmates' derision.
The central story is handled with warmth and intelligence by Macdonald, who is directing from a script adapted by Jonathan Harvey from his play (which she directed on stage, as well). The relationship between Jamie and Ste comes across as surprisingly heartfelt yet unsentimental. There's all the angst and uncertainty one would expect from boys struggling with a foreign sexual identity, recognizing that if they choose what comes naturally, they will face society's contempt. But this is also a case of first love for both of the principals, each of whom, in addition to facing their homosexuality, must struggle with the distress and rapture of a passionate adolescent infatuation. Macdonald, with more than a little help from two skilled young actors, Glen Berry and Scott Neal, manages to capture the nuances of the situation, exploring the emotional complexity of the circumstances without resorting to melodrama.
Unfortunately, BEAUTIFUL THING has a plethora of subplots, none of which comes close to the main story in terms of richness or sensitivity. Jamie's stormy relationship with his mother represents the kind of dysfunctional family situation that has become a motion picture cliche. The same is true for Ste's interaction with his father and brother. A neighborhood girl, Leah (Tameka Empson), initially looks like she might play an important part in the film, but she ends up in a supporting role, offering occasional comic relief and providing much of the soundtrack as a result of her obsession with Mama Cass (of the Mamas and Papas). Despite having the potential to be BEAUTIFUL THING's most interesting character, she remains severely underdeveloped and underused. Finally, there's Sandra's hippie boyfriend, Tony (Ben Daniels), who's a font of goodwill and stale platitudes.
The acting, as we have come to expect from British films, is solid from top to bottom. Berry and Neal effectively convey their characters' situation to the audience, allowing us to share in the complicated web of wonder and pain that they experience as they come to terms with their identity. Tameka Empson is delightful as the off-the-wall druggie Leah. Meanwhile, as Sandra, Linda Henry is a portrait of caged energy as a woman who loves her son but fears that she's an inadequate mother.
BEAUTIFUL THING uses numerous conventions of urban dramas and forbidden love stories in its framework, but, because Macdonald keeps the focus intimately on Jamie and Ste, the result is still satisfying. Only the ending, which gives a false sense of closure to an otherwise well-balanced narrative, feels wrong. Otherwise, BEAUTIFUL THING represents a keen, personal look at the difficulties of growing up gay in a heterosexual world.
- James Berardinelli e-mail: berardin@bc.cybernex.net ReelViews web site: http://www.cybernex.net/~berardin
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