Edge of Seventeen (Moreton, 1998)
June 13th 2010 02:35
Edge of Seventeen (Moreton, 1998)
While watching Adventureland recently I was reminded of another film that set in a theme park during the summer in the 1980’s; a gay-themed coming-of-age independent venture entitled Edge of Seventeen. I saw Edge of Seventeen years ago and loved it, along with many of the other gay and non-gay themed independent ventures I was getting my hands on in the 1990’s. I saw these films at a time when I was less discriminatory regarding film consumption. A recent goal of mine was to re-watch many of these films to see if they still held up. Edge of Seventeen was on that list but after seeing Adventureland it made move it to the top.
Like Adventureland, Edge of Seventeen is structurally and thematically very similar. Like most gay-themed films, however, it must have an ending that is not entirely happy in one way or another (although this film, unlike most, isn’t too bad in that category) It also must focus around the plight of being gay rather than a person’s sexuality just being a part of who they are; rarely you’ll find a film like that in the genre and sadly it’s the obvious fact that regardless of the time period the film is set, if it’s happening in the last few centuries and there’s homosexuality involved, there’s usually going to be an issue.
Edge of Seventeen is just one of the many films to grace the queer cinema coming-of-age/coming out genre. Like Adventureland, the writer/director (David Moreton) based his film around an amusement park he worked at while in school. Set in Sandusky, Ohio in 1984, we follow Eric, a shy, 17 year old who loves music and may also like Rod, a college student he meets while working in the restaurants theme park. Maggie (Tina Holmes) is Eric’s best friend and naturally, she’s in love with him. Toward the beginning of the film Eric kisses Maggie; his non-verbal expression reveals it was a mistake.
The film is predictable in its content and ultimate conflict, but mostly well-executed, largely due to the young actor, Chris Stafford, who plays Eric. Eric’s awkwardness regarding his sexuality and sheer terror during his first close encounter with Rod and subsequent giggling nervousness and tentative nature when they have sex is very genuine. Unfortunately, the actor playing Rod (Anderson Gabrych) is rather corny/obnoxious in his deliver but since his character a mixture of preppy/surfer dude, we can forgive him somewhat.
Instead of setting the entire film during that one summer, Moreton wisely brings the “real-world” back into focus. A loss of innocence occurs and the question of ‘what now?’ must be faced. Rather than being excited at having had sex, Eric becomes even more subdued, focusing on getting into Ohio State and thinking only of Rod. We also see Maggie is still kissing him any chance she can get. The film shines in its focus on Eric and his complete hatred of his social situation as well as his struggle to find a place where he can fit in, both within his own mindset and in the world.
The best film of the scene comes in Eric’s pay-phone call to Rod in which he confesses his hook-up wouldn’t even look at him after sex and naively asks “do most guys only care about sex?” Again, Stafford brilliantly portrays a mix of confusion and heartache. Another memorable scene is Eric’s confession to Maggie, “I don’t know what the fuck I am.”
The second act of the film is interesting because it subverts the coming out process. Instead of Eric fully experimenting with Maggie in the beginning and realizing it isn’t for him, Eric confesses to being gay to Maggie and whole heartedly embraces it, seeking solace at a gay club and having a few sexual encounters. It isn’t until he realizes that he can’t seem to find love, only sex, with guys that he actually goes back to Maggie and tries to start a relationship with her. Although skeptical at first, Maggie accepts him.
Structurally, the second act does not deal with the conflict at the center of the film and ultimately, it is never does. The third act, which is supposed to finalize the conflict and provide resolution, simply does not happen. Instead, the film embraces the monomyth format as the entire film is about Eric and his inner struggles rather than outright conflict with others. Structurally, on that level it works.
The presence of Lea DeLaria as the restaurant manager and token lesbian is too self-aware for its own good. Her role is cliché and serves only one purpose: to be the mentor and guide to embracing homosexuality for our protagonist. The film might as well have cast Ru Paul in the role. Unfortunately, DeLaria is abrasive, unfunny and her presence breaks away from the invisible style and doesn’t add anything.
Despite the aforementioned flaws, this film still held up rather well. It isn’t “absolutely incredible” but it’s definitely a good coming of age story and refreshing in the fact that everything is not wrapped up in a tidy package. In fact, very little is and that’s why it rings so true to real-life. Edge of Seventeen contains some stand-out moments and well-handled sex scenes. Stafford is incredibly effective and it’s a shame he hasn’t gone onto more projects.
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