moiestatz

Complexity and Its Birth

Life on Earth began in the ocean. In the depths of this primordial soup where nature conceived of the first and the subsequent, the natural was born. Eventually, man and woman was born. XY and XX was born. Man and woman was natural. But does natural also mean normal? If natural creation is the source of everything that is a creature, does it follow that every natural creature is normal? Thus, the complex was also born.

It is fitting that in the chronicle of Alex's life, the diegetic beginning of the film begins with the beginning of everything, the ocean. The opening credits are shown within the confines of the lulling blue mother of all that is all. The movie will show again and again these motifs, saluting the ultimate life giver.

A Complex Life/Love/Human Story

It is quite obvious that intersexuality presents a host of dizzying conundrums about biology and society. The movie fulfills this preliminary requirement. Brilliantly, the film goes beyond. The beauty of XXY is that it carries its complexity from chronicling the development of Alex's biological life to chronicling the biology of Alex's love life. Complexity runs through the movie like complexity runs through the fractals of nature. When you think you know what's going to happen, an even more delicate and captivating development happens that provides you with more insights and more questions about the characters. One is rarely black or white, bad or good, ugly or beautiful, XY or XX.

Complexity: What to Make of It?

Life is complex. The filmmakers have enough fortitude to present to us that both blessings and curses are bestowed. Joy to those who are fortunate; woe to those who are unlucky. What will happen to those who are accepted? Those who are loved? Those who are rejected? Those who are despised?

The direction was exquisite in portraying the allure of the initial phases of attraction. With the skillful editing and the above-average to beautiful cinematography, the movie had a well-paced, rich, atmospheric delivery.

The director, James Bolton, handled the actors deftly. Bolton carefully spent enough time on the characters to let us know the possible layers of meaning of the way they gaze at each other. The two leads were quite effective. Stephen Bender especially provided an intriguing aura to the character. Diana Scarwid and Thomas Jay Ryan were remarkable in their few scenes. Even Randy Wayne, Owen Beckman, and Rooney Mara delivered.

The soundtrack was good but had mixed applications. At the music's best, it delivered subtle meaningful tonal contrasts. At its worst, it was obtrusive and distracting.

I haven't read the book, so I'm judging the screenplay on its own. A gay growing-up story has been told over and over again ad nauseam. This movie had all the clichés. What was interesting was the surreal shift with the potential for multilayered interpretations. Not everyone will like this. Personally, this makes me want to read the book. I was satisfied enough with the delivery of this aspect, but I agree it could have been better. The ending was a unique and thought-provoking way of escaping gay media triteness.

We sometimes feel like we are lost, alone, and confused. Why not? Life is a labyrinth of trials, much like the building that the protagonist gets lost (literally and figuratively) in. Mistaking one path for another is easy, terrifying, and painful. Each path has friends and enemies, angels and demons. But if we're lucky enough, brave enough, we just might let someone in. Getting lost finding the way seems less scary.

Strapped is one of the most excellent films I have watched in quite a while. The writing is excellent, the direction is excellent, the acting is excellent. I have so much more to say about the intelligence, the symbolism, the honesty, the multi-layered profundity, the heart, and the life-affirming testament that is this film; however, why spoil all the fun for you?