Shadows on the Wall | Please Baby Please

Please Baby Please

dir Amanda Kramer
scr Amanda Kramer, Noel David Taylor
prd Rob Paris, Gul Karakiz, Mike Witherill, David Silver
with Andrea Riseborough, Harry Melling, Karl Glusman, Demi Moore, Ryan Simpkins, Cole Escola, Jaz Sinclair, Alisa Torres, Karim Saleh, Jake Choi, Dana Ashbrook, Mary Lynn Rajskub
release UK Aug.22 eiff,
US 28.Oct.22
22/US 1h35

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West Side Story meets Twin Peaks by way of Rocky Horror in this riotously camp musical drama. Ambitious filmmaker Amanda Kramer uses a jazzy beat to draw out inner passions of wildly colourful characters. Hugely stylised, the lurid-hued sets and costumes also reveal thoughts and feelings. And while it's over the top, this nutty odyssey is a wonderful ode to the power and danger of living outside the box.

One night in late-1950s New York, newlyweds Suze and Arthur (Riseborough and Melling) have an unnerving encounter one night with the Young Gents, a sadistic street gang that taunts them. But their initial fear soon shifts into lusty intrigue, as Suze begins to realise that her dream of being a housewife is actually a nightmare, and maybe she has a whole new calling in life. Meanwhile, Arthur finds himself drawn to Young Gent leader Teddy (Glusman), and has conflicting reactions to the growing violence. The question is whether they can work this out together.

Dialog overflows with innuendo that plays into the idea that these characters are having their sexual expectations well and truly demolished. Suse begins to relish her newly dominant role while, after his uptight pronouncements about male roles, Arthur begins to explore his own masculinity. Scenes push these ideas in extreme directions as the couple interacts with artistic friends and gets increasingly intertwined with the Young Gents. Along the way, there are musical numbers, vivid fantasies and darkly violent clashes.

Riseborough and Mellor create a superbly complex relationship between Suze and Arthur, while also spiralling off on their own. Riseborough's Suze is hilariously expressive, blurting out her opinions while concealing any doubts she may have. Mellor brings a thoughtful honesty to Arthur, who says he's a man but has never felt the desire to act male. As they begin to embrace their inner selves, things get very messy indeed. And the surrounding cast adds both texture and weight.

Most importantly, Suze and Arthur's encounter with the dark side doesn't change them; it allows them to admit what was always there. Straining against the constrictions of society is something everyone can identify with; Suze and Arthur are questioning why they have to live artificial, proscribed lives that have nothing to do with who they are. And while what they discover about themselves may not be socially acceptable, it feels so much better than hiding away that there's no way they can ever look back.

themes, language, violence 22.Oct.22

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