Eighteen

I'm a 55-year-old fairly jaded gay white man. Since I don't watch TV, I watch at least 250 films a year, most on DVD. I keep notes on all the films I see and rate them. Since December 2003, I have seen only five films as great as EIGHTEEN. So, I've rated EIGHTEEN better than at least 700 other recent films. Mr. Bell is far too modest in his film commentary. EIGHTEEN is a Great Film. And, it also resulted in two "firsts" for me.

I watched the film, the first time, and I was riveted throughout and weepy during the last half hour, something that's only happened to me three times before. (Five minutes into the film I knew it was going to be very good.) When Jason began reciting Whitman, I lost it, and then... The Kiss. Well, that is one of Film's great kisses, and that scene among Filmdom's most poignant and unforgettable. When Pip blows out the candle at the end and the credits rolled, I clapped. I cheered. I love happy endings. I wept.

Then I watched the trailer and the TLA previews and thought, "Okay, is this $800,000 or so Indie really that Great?" So, I immediately watched EIGHTEEN again, something that's only happened three times before. And, EIGHTEEN blew my socks off yet again, even more so. Then I watched "The Making of EIGHTEEN" documentary and was completely charmed by the cast and Mr. Bell.

So, I thought I'd watch EIGHTEEN again with the Director's Commentary. I have never before watched a film three times in one night. After the third time, at 3:00 AM, I knew I had just experienced a Great Film; EIGHTEEN now ranks #10 on my Top Twenty Films of all time. And, in the very small universe of great gay or gay-subtext film, there is Brokeback Mountain, EIGHTEEN, Mulholland Drive, and Maurice.

Thank you Mr. Bell! EIGHTEEN is brilliant and fully-realized, with a magnificent cast, a wonderfully moving, understated score, excellent cinematography, an entertaining, touching, totally appropriate and hummable song. I can go on, but I won't gush too much more.

This film should have received Oscar nominations, certainly one for Best Picture. The performances, without exception, were all wonderful. Ms. Gill's lovely, sultry voice was a surprising epiphany. And Sir Ian McKellen? 'Nuf said. Awesome.

EIGHTEEN is the reason I slog through over 200 mediocre to utterly horrendous films (some in the $150 million plus range) a year, to find that one treasure, that one exquisite, magical, unique and enchanting, perfect "Faberge egg" enfolding an unforgettable heart.

Finally (I promise), my second "first" -- I've never before posted a commentary on any film I've seen.

Thank you again, Mr. Richard Bell! Breathtaking genius. Give this man $100 million for his next film! He made $700,000 US into one of the top 50 films of all time. If I had the cash, I'd grant him $75,000 a year living expenses and match any funds raised for his next film. Mr. Bell is already a great director at 31-years old. Can you imagine him at 45-years old?

Wise and witty, tender and brutal, poised, poignant, understated yet edgy, chilling and thrilling, mesmerizing, haunting, unforgettable: EIGHTEEN, THE MASTERPIECE.

Street kid Pip (Paul Anthony) is estranged from his father after a fight and a deadly car wreck which killed his brother. His dad tracks him down and gives him his grandfather's audio tapes of his WWII experiences (Ian McKellen). Both Pip and his grandfather (Brendan Fletcher) from the tapes are turning eighteen. He's struggling in the streets while his grandfather was struggling in France. Pip befriends gay hustler Clark. Jenny (Carly Pope) rescues Pip from an attack by her boyfriend and does social work. Father Chris (Alan Cumming) tries to connect with the homeless teen.

The premise of twinning a runaway with his grandfather soldier is intriguing. I don't like the execution and one early WWII scene put me off. Eventually, the flashbacks become untenable. As for the present day story, that's a shocking final twist. It's a problematic twist for many reasons. I don't understand the father's motive of bringing Pip. It paints a really disturbing picture of the family. It makes it extremely unlikely that dad would go searching for Pip in the first place. The whole WWII aspect is more trouble than it's worth anyways. The main story has some great stuff but also some awkward stuff. Clark's creepy obsession with Pip is really off-putting. The audience wants to like Clark but he makes it near impossible. He's a terribly flawed character and not all his flaws are endearing. It's also weird that his scene with his John is met with a soaring romantic score. He really makes it hard to root for him. Pip's relationships with Jenny and Chris spin off some interesting stuff. It is also rather odd in having all happy endings wrapping the stories. The subject matter requires a dark tragedy somewhere. Overall, there are some really interesting stuff here among some valiant failures.

EIGHTEEN as written and directed by Richard Bell may have a few too many stories to tell simultaneously for a 102 minute movie to completely succeed, but there is such a fine sense of commitment on the part of all the cast and crew that the viewer ends up wanting the movie to work - and so it does. Yes, aspects could have been finessed if the producers had more money to spend on the final cut, but as a small independent movie from Canada this is a tender, gently humorous, very touching tale about vulnerability and communication and commitment. It works on many levels.

In a very well choreographed opening we are voyeurs at a family dinner where obviously something has gone awry and results in a father and two sons taking off in a car and having an accident in which one of the sons is killed. With an introduction like that the mood is set for the surviving 18-year old Pip son (Paul Anthony - looking far too old for credibility as a teenager) to desert his family and live on the streets. He meets Clark (Clarence Sponagle) a male prostitute who gives Pip food and shelter, Jenny (the very fine Carly Pope) who saves him from a bashing by her associate Derek (Ryan McDonell) and becomes romantically entangled with Pip, and Father Chris (Alan Cumming) in a finely wrought sympathetic role as a priest. It is Pip's 18th birthday and his father (Serge Houde) traces Pip down to give him a present from his deceased grandfather with instructions the gift should be opened on Pip's 18th birthday.

Pip, though drinking too much and full of anger, pawns the tape machine but keeps the tape and begins to listen to the words of his grandfather Jason (voice by Ian McKellen) who recounts his own 18th birthday in WW II in France where he (now the very sensitive actor Brendan Fletcher) has an experience with a wounded medic named Macauley (Mark Hildreth, also superb) and reflects on his one night marriage with a cabaret singer Hannah (Thea Gill of 'Queer as Folk' fame and a fine singer and actress here), only for something to live for during the war: Jason offers succor to Macauley as he dies, with a beautiful scene of redemption for he two men at the end. The parallels of Pip and grandfather Jason interplay every time Pip listens to the tape and lead Pip to ultimately alter his view of life and love. Subplots include Clark's isolated existence as a hustler being altered by Jeff (David Beazely - in a surprisingly fine film debut) who simply wants to be loved; by an unexpected pregnancy between Jenny and Pip; by the trust Father Chris instills in both Pip and Clark in a good shepherd's manner: and by a flashback to the car accident where Pip could have saved his brother Daniel (Paul Dzenkiw) from an abusive act at the hands of his father, just before the accident, but failed to do so, opening his deep guilt and resultant misplaced anger, mirrored by his grandfather's taped experiences. Each of these subplots pulls together at the end, creating a sense of closure for each of the people involved.

There are aspects of this film that make it seem like a big budget production: the musical score by Bramwell Tovey is performed by the Vancouver Symphony members, the cinematography by Kevin Van Niekerk is aptly atmospheric, and the general quality of acting by this Canadian cast is very fine. Though Paul Anthony handles his role well, casting a very young teenager in the pivotal main role would have made the story work much better, and Richard Bell, with only one other film 'Two Brothers' on his resume, gives promise of a young talent to watch. Despite the shortcomings, EIGHTEEN is a worthwhile film and deserves attention. Grady Harp

This film was incredible! Looked high budget but felt heartfelt and original like an Indie. The most amazing part of this film were the astonishing performances by David Beazely, Mark Hildreth and Paul Anthony who plays the main role. He carried this film with ease, humor and charisma balanced with a huge depth.

The cinematography was really beautiful even though some of the subject was quite ugly. It wasn't very realistic in that way but it didn't have to be to make a larger point. It was really great seeing Alan Cumming in this too. The script was tight and propelled very nicely with some of the best acting I've seen in a while.

Go see this.

"Eighteen" (2004) tells the story of Pip Anders, a depressed and extremely cynical young man who is estranged from his dysfunctional upper/middle class family and living on the streets of Vancouver. On his 18th birthday, he receives a cassette tape and player from his recently-deceased grandfather, relating his memoirs of his own 18th birthday, spent serving with the British army in France, trying to help a mortally-wounded comrade avoid capture by the occupying Germans. As Pip listens to the tape (Ian McKellen provided the voice of his grandfather), we see the scenes he is describing as flashbacks, alternating with daily scenes of Pip's life, as well as more recent flashbacks filling in the dark secret why Pip left home and finds it impossible to trust anyone who is nice to him.

An ambitious second film from writer/director Richard Bell ("Two Brothers"), with a polished look, excellent photography, well-developed non-stereotypical characters (with gay and straight treated equally), and commendable efforts in emotionally and physically-demanding roles from some talented new actors (especially Paul Anthony as Pip and Brendan Fletcher as his grandfather at 18). There is also a noteworthy turn by Alan Cummings as a priest who tried to help Pip, and a small supporting role played by Thea Gill ("Queer As Folk"). The complex story - in the director's own words in his DVD commentary - is meant to drive a "vortex of emotion" pushing Pip to his breaking point, and it certainly accomplishes that. My only criticisms are that the overall effect is too "schmaltzy" or artificial for an audience to truly identify with, much of the supporting dialog (and the ending) too contrived and predictable, and the direction needed to be sharper to curtail sloppy overacting in some scenes. I do recommend it, 7 stars out of 10, including extra points for a noteworthy effort.