November Son, a review
NOVEMBER SON
d. Jason Paul Collum
Why is this film categorized as a comedy? Nothing here is funny, save for Robyn Griggs as Brielle and more than one instance of gut-busting unintentional humour. That categorization is a good example of my problems with this film: it wants to be everything. Despite suffering(/benefitting?) from a schizophrenic genre disorder, November Son is remarkably engrossing, if overly-maudlin, psycho thriller... err, brooding drama... err gay allegory... err sweeps episode of Desperate Housewives. The one outstanding thing about whatever this film is, is that it's unlike any low budget genre piece in recent memory.
Craft-wise, director Collum has improved greatly from predecessor, October Moon. The beats unfold accordingly and, for the most part, make sense. The narrative, however, is too substantial for a feature film and the script is pulled in several different directions at once. November Son unfolds more like the second season of a prime time soap opera rather than a feature film. Viewers must have a detailed knowledge of October Moon before entering (I had seen October Moon several years ago and even then felt lost in the first half hour). Beginning of the film lacks momentum and instead focuses on recapping the lives of the characters from the previous film rather than moving forward with it's own story. The result, while not 'bad' by any means, comes off as indulgent and confusing for new viewers. Early scenes of character development lack any attachment to the plot in motion and a clear theme never really emerges.
Because the film seems to go to great lengths not to define its genre, the characters and situations are unpredictable and surprising. The world of the film is very rich and compelling. Director Collum has a strong grip on the tone and borrows images from Eyes of Laura Mars and even The Grudge. Some of the heavy handed drama scenes exist outside the range of the actors and the director, with worst case scenarios heading into laugh-out-loud-so-bad-its-good territory. The root of the problem was that there just wasn't a whole lot at stake. I can understand the filmmaker's desire to slow-burn things one beat at a time, but even if played as a straight drama, there was little for audiences to sink their teeth into. Then the last half hour kicked in, yet again changing things up.
Performances are good across the board - at best, very good; at worst, bearable. Brinke Stevens, who I enjoy but have never thought was a stand-out actress (sort of like Kim Basinger, uncomfortable in front of the camera) turns in a great performance that is natural and compelling. Newcomer Sacha Sacket is memorable and effective as male lead Eli. After exploring his music (which I suggest everyone go and do immediately), I wish the film could have captured some of the heartbreak and sophistication that he brings to his songs. Eli's love interest, played by a man who I'm guessing is a local actor, is mostly remembered for his thick Wisconsin accent. The character never really amounts to much, or holds much weight with the plot, but is thrown into the mix at the climax... which is another funny moment as I kept waiting him to ask someone "what's going on?". Also of note, very good performances by the drag queens.
A better producer would probably would not have made this exact film, but I genuinely enjoyed the ride.