Pumpkin

"Your relationship is...inappropriate," one of Carolyn's sadly superficial sorority sisters says to her in the course of "Pumpkin", and that statement sums up this superbly uncategorizable exercise to perfection. Nothing about "Pumpkin" is appropriate, from the soundtrack choices (the music in the fight scene between Pumpkin and Kent in particular), the casting (it was a near-shock to see Dominique Swain with her clothes on through the ENTIRE FILM for openers), the story itself and the shamelessly ambiguous manner in which it's presented. It works, though, thanks to a supremely conflicted and tender performance from Christina Ricci and the simplicity, sensitivity and sincerity of Hank Harris' interpretation of the title character. Life isn't just one thing, it's all things all at one time sometimes. Just like this movie.

Surprisingly sweet dark comedy is really too sentimental at heart to be the edgy piece it was promoted as, and the curious final results show definite signs of indecisive filmmakers (two directors!) at the helm. A sorority princess living in a privileged bubble has her existence turned upside-down after forging a loving relationship with a mentally challenged young man, losing her friends in the process. The direction is erratic, and the tone of the film changes from scene to scene, yet it is certainly unpredictable and the cast is game. I don't know if the focus of the movie was changed midway, but the later sequences have a sweet nuance to them, as if a big softie suddenly took over to see this thing through to a happy ending. And then there's that final shot which, in keeping with the rest of the picture, is amusingly bizarre. **1/2 from ****

This is what happens when you make a movie without deciding what sort of movie you're making. Half of Pumpkin wants to be a an over-the-top, artificial satire like Heathers or But I'm a Cheerleader, and the other half wants to be a sweet movie of a shallow girl who grows from her experience with a mentally challenged boy. While it might be possible to make the film's premise work with either of these approaches, you can't use both of them. Scenes that are comedically exaggerated are followed by scenes of painful sincerity. Some actors appear to think they're in a satire while others think they're in a drama, so even individual scenes seem askew. The film probably would have worked best as pure satire, but one suspects the director thought the underlying issues were important and wanted to hammer them home dramatically. As a drama it fails because it makes no sense, Ricci's character isn't given anything convincing to react to; the situation is simply absurd. This is a classic example of failed direction.

Oddly enough, my girlfriend loved this.

Webster's New World Dictionary defines the word ‘retarded' as: 'slow or delayed in development, esp mentally.'

The movie's setup is certainly different from the typical ‘boy meets girl' formula. We've all seen the ‘nerd gets girl' bit. Well, this time it's taken to the ‘next level' if you will. The plot revolves around a stereotypical ‘prom queen' type of sorority girl falling in love with a mentally (and physically) handicapped boy, and how everything she once held dear falls apart because of it.

This is the sort of project that Christina Ricci has made a career out of doing. Namely, dark comedies. She plays against type insofar as she's considered a rather ‘edgy' actress, yet her role in this flick is that of the ‘popular girl'. A role in which is has obvious fun lampooning.

The subject matter would make one think that this would be a conventional straight drama, but it isn't, which is perhaps what elevates it above what could be typical tearjerker schlock. The film never takes itself too seriously, there's always a bit of ‘winking' involved. Take for instance when Ricci's character tries to kill herself by overdosing on Night Quill and Pepto-Bismol-only to succeed in making herself sick to her stomach.

However, while satirical, it does make good points on how the general public view and think about the mentally handicapped. How beneath the platitudes and seeming self sacrifice, most people still view them as ‘unequal' to the rest of us-people to whom mouth service is given, but true acceptance of is never a genuine consideration.

The way everyone turns on Ricci's character (her friends, her boyfriend, her parents) when it's made clear her feelings for her ‘special friend'-it's very poignant and very real (if not also very farcical). And one supposes that it's because of that blatant bias of others that make her make out scenes with said ‘special friend' so satisfying. She not only accepts him, but accepts him as a woman accepts a man. One has to admit, there's something oddly esoteric about seeing her have an implied sex scene with a ‘retard'. It sort of warms the cockles of one's heart.

‘Off beat' is the best way to quantify this film. It toes the line between full-blown farce and full on drama. Satirical yet genuine. And this is coming from a guy that usually avoids these types of flicks like the Bubonic Plague!

"Pumpkin" slips mercurially through the genres ending up somewhere around black comedy with farcical overtones and biting undercurrents as it tells of a privileged, superficial sorority sister (Ricci) who "gets real" and falls for a mentally challenged man (Harris) while coaching him for a Special Olympics type event. The film boldly treads on thin ice, clumsily at times, as it tramples social constructs from decorum to morality while managing to maintain a marginally interesting storyline. Probably a real achievement given the experience of the auteur, "Pumpkin" will likely end up a love it or hate it flick of modest significance. Worth a look as a curiosity if nothing more. (B)