Fixing Frank

A person's response to a film often depends of where they are emotionally and psychologically at a particular point in time. Great films can break through whatever emotional and psychological barriers the viewer brought with them - their baggage - and enlighten, inform and entertain. This film, although engaging, does not come near being great. The adaptation to film from play should somehow transcend the mediums. If you just film the play, you are missing the opportunity to use the medium of film to enhance the storyline. This film never loses its play quality. The dialog that works so well as a play, become tedious and goes on forever! Do people really talk this way? I think not! After a while the psycho babble becomes a hmmmmmmmmm in the ears. Now what was the point? Ah, the actors did a great job!

On the topic of the validity and morality of offering psychological treatment for those unhappy with their same-sex attractions. As at July 2007 the APA's official attitude is that "ex-gay" therapy should not be promoted, because it is likely to do more harm than good - but they don't object to the members providing treatment if it is actually sought by the client. "Fixing Frank" plays devil's advocate in letting us decide whether this attitude is really acceptable.

Frank is a young journalist who is lacking in assertiveness and personal motivation. Frank's psychotherapist partner has a long standing loathing for a rival therapist whom he knows has been providing "ex-gay" treatments. He convinces Frank that there's a great opportunity for an expose feature by posing as a client seeking an ex-gay cure from this other therapist. The plan falls apart as we see how carefully chosen and passionately delivered rhetoric very effectively chips away at Franks self-confidence as a gay man.

It's a fine film for helping us to empathise with anyone who has sought ex-gay therapy - and is particularly interesting for allowing us to look through the eyes of the ex-gay therapist who passionately believes that he's doing the right thing.

The commentary track on the DVD is invaluable. The director and the actor playing the ex-gay therapist are both gay - but the other two actors are extremely convincing straight men (the cast are all great actors).

FIXING FRANK is somewhat of a rarity these days - a film well made form script to production that puts a hot topic on the table and challenges the viewer to think, all the while providing a very entertaining movie experience. The work began as a play by Ken Hayes who also adapted his play for the screen and while the 'opening up' of a stage play on the cinematic format is successful, in many way the dialogue feels very theatrical and the method of production stagy. That fact may annoy some viewers: for this viewer it worked, allowing us to here the superb script delivered in its entirety without frosting it with unnecessary visuals.

Credit director Michael Selditch for the creative approach to this filmed play. He keeps the story moving and integrated and draws exceptionally fine performances from his superb cast. In essence this is a three person film - two apposing therapists who are at opposite poles of dealing with the concept that being gay is an immutable inherited trait versus the possibility that with therapy the gay behavior can be changed to heterosexual behavior if the patient desires that 'change'.

Frank (Andrew Elvis Miller), a writer who is in the process of exposing a therapist Dr. Aspey (Dan Butler) who claims he can 'cure' gay men - at least according to Frank's lover Dr. Baldwin (Paul Provenza), an activist gay therapist. Frank, coached by Baldwin, has sessions with Aspey with the idea of trapping him into revealing his 'damage' to gay patients who have complained to Baldwin of Aspey's techniques. But what Frank discovers is a that Aspey deals with choices and changes on a strictly therapeutic angle, not basing claims for 'cures' for a lifestyle he does not condemn. In the process of the 'therapy' sessions, Frank grows into his own identity - a fact that alters his relationship with Baldwin and opens many closed doors of thought for all three characters - and us.

The actors are all excellent: one wonders if they played these roles on the stage. The intermingling of the sessions with conversations outside of sessions is additive and while many may object to the theatrical use of placing all three actors on the screen simultaneously when a 'session; is in progress, the format works well in allowing the script to be heard and maintain its punch. This is a thinkers' movie, the concepts are controversial and may find some viewers anger points, but as a film it works exceptionally well. Grady Harp

A challenging premise. The main flaw is that it takes way too long to set up the plot. The acting is very weak in some scenes(and very good in others). It seems like 90% the shot compositions are close-ups. The film feels very long. About 25% could be edited out. Too much emphasis on repetition of characters conflict and not enough on the conceptual issue. I my opinion it takes something noble and reduces it to a petty squabble between childish overdone stereotypes. Music was unhelpful.

Unfortunately a missed opportunity to get these ideas to a broader audience, as the focus was too much on some unlikable characters on not on the social issues.

I started watching this movie, not knowing what to expect. The whole issue of conversion therapy has been close to me ever since a friend of mine who's gay wanted to try and change his sexual orientation. That's why I approached this movie with both anticipation - for some possible answers - and dread.

Let me put it this way: if you want to understand why some gay men want to change their sexual orientation, you've come to the right place. The movie, through the characters of Frank and Dr. Apsey, raises many questions that aren't easily dismissed. The writing is good, the acting is good, and the way it all plays out is both engaging and plausible.

At the end of the day, however, I felt the problem was that too many of the questions raised weren't handled well enough, weren't addressed as they should have been, considering their enormity. Supposedly the movie gives both sides a chance to show their point of view. Supposedly you're given an answer at the end as to which "side" Frank chooses. But you're given no insight as to why he makes the choice that he does at the end (don't worry, I won't give it away) and you certainly not hearing a real discussion between the two opposing POVs, as one is more dominant in this movie, in a way that Considering the importance (even the urgent importance, that the movie itself refers to) of not leaving this discussion one-sided in those areas where there are answers to be offered to the questions raised here, I think there's still an issue of social responsibility pressing, that suggests those answers should have been supplied more than they have been.

Yet for all this, it does make you think. If you're willing to be a thinker, if you're willing to have a go and find the answers that truly balance things out yourself, you could indeed enjoy this movie.