El soñador

I enjoyed the atmospheric, thoughtful and sensitive slow pace of this movie, but the dialog in important parts, and especially during the climax, was drowned out by some of the worst, most inappropriate, extremely annoying, repetitive, cloying and very loud music I've ever heard in a movie soundtrack.

The dialog volume should have been turned up and the music _way_ down in this movie, and absent altogether in parts where the dialog was of utmost importance for revealing the plot. As it was, there were parts in which I could only guess what was being murmured because the music was deafening by comparison. I almost stopped watching this movie, despite liking the story and characters, specifically because of the awful "background" music that was much too often in the close foreground. Extremely poor choices regarding the music. Everything else was fine.

Wow! What a nice surprise. Saw this gem at Newfest film festival in NYC June 12-08. Was drawn in from the very first moment. The film takes place in rural Louisiana in the mid 20th century. The film has a quiet intensity and power, is beautifully paced with excellent attention to detail, which gives it a very genuine feel. There is a simplicity and sparsity to the film that makes it feel like classic Americana, like the Last Picture Show, Hud or East of Eden or a Eudora Welty story. The two actors Stephan Bender and Maximillian Roeg that play the teenage boys are outstanding and should have very fruitful careers after this film. They give beautifully controlled nuanced performances that give the characters an honesty and depth. Diana Scarwid plays one of the boy's mother and is amazing. This actress is really underused in films and her performance here is a powerhouse and should be nominated for a best supporting Oscar. The singer Rickie Lee Jones plays the other boys mother and in a small part creates a memorable and touching character.Don't want to give too much away about the plot but the center of the story is about two teenage boys. One who just moves into town and the friendship that develops as they gravitate to one another. Keep an eye out for this film, it is a sleeper and true jewel.

Unfortunately, just before I watched this movie, I read a review here stating that the story was based on a "thin-as-paper, muddled plot." With that in mind and the somewhat awkward, uncomfortable interactions between the actors at the start, I almost gave it up. The timid, brittle interactions, however, were very true to the decidedly dysfunctional family of the main character rather than tentative acting.

Yes, the plot may have been overly ambitious in all that it attempted to include. Some of what takes place was a bit formulaic and stereotypical, but the events were still integral to the story development and it felt totally realistic if not ground-breaking. There is, after all, a fair amount of shared common experience in the coming-of-age saga of most young gay men. In fact, many of us are drawn to films like this because reliving some of those common experiences, distressing as they may have been when we were young, now contribute to a comforting feeling of connection to others.

The distant, confused, tender-brutal, hateful-loving relationship between father and son, I suspect, drove a great deal of this story although it wasn't the central focus. That tension and force was very effectively accomplished without belaboring the obvious.

The movie has its rough edges as quite often happens when a complex plot is carried from book to movie. Still, I found it well worth watching.

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.

People watch movies for different reasons. Some people like an elaborate, fast-paced plot. Others enjoy the visual and audio experience. I am the kind of movie watcher who enjoys a well executed and consistent tone and mood. In "Dream Boy," the mood is both melancholy and sweet and there is a constant, if not always apparent, hint of anxiety and apprehension that builds throughout the movie. Capturing a mood is very difficult, and it relies on a number of factors including acting, cinematography, and music. While the acting of the supporting cast in "Dream Boy" can be somewhat inconsistent, the acting of the two main characters, Roy (Max Roeg) and Nathan (Stephan Bender), is very strong. I was particularly impressed with Bender whose performance reminds me of Gabourey Sidibe in "Precious." While it is true that the awkward, inarticulate teenager is well-trod territory in gay cinema, I've never seen the role acted so flawlessly. I was completely convinced that Bender was Nathan. Here we have a rare example of the kind of role that doesn't seem "acted" at all; it's as if Bender embodies the character. Sadly, I think actors with roles that are over-the-top, histrionic, and melodramatic often get the most praise, but it seems equally if not more difficult to portray a shy, introverted character, and the actors who really nail these roles often don't get the recognition they deserve (re: Heath Ledger in Brokeback Mountain). I've read some criticism that Bender's performance was "wooden," and it strikes me that if you were not an awkward, inarticulate teenager you might not be able to identify with the performance, but if you were the kind of kid who stayed inside most of the day you will probably find the portrayal of your former self incredibly accurate and moving.

There is a lot of attention paid to subtle, non-verbal forms of communication - glances, stares, half-smiles, physical contact - all of which create a much more realistic depiction of young, gay love than the more chatty gay coming-of-age movies that I'm used to seeing. All of that being said, I understand the disappointment with the ambiguous denouement, but plots are relatively tangential for me. If the actors and director manage to depict a convincing mood, then that is all I need to be satisfied, and they have certainly done that with "Dream Boy."