Bobbie's Girl

After the death of his parents a 10-year-old orphan is sent to live with an aunt he's never seen, a brusque woman in a lesbian relationship who lives in a gay bar she owns. Not everybody is thrilled with the assignment, especially the boy's grandfather, but surprisingly little is made of community disapproval. Instead, the focus is on the relationships among the various characters. Luckily, the writing and acting are outstanding, especially Rachel Ward and Bernadette Peters as the lesbian partners and, in the best role I've seen him in, Jonathan Silverman as the gay "uncle", who works in the bar. The fact that the boy is also working in a gay bar, and apparently will be growing up there, doesn't seem to bother anybody, least of all the boy. Thomas Sangster, the 11-year-old actor who plays the part, gives a highly intelligent and affecting performance. Perhaps it's in his genes: he's the cousin of Hugh Grant.

Overall this was an excellent film, but there was one odd scene at the very beginning that made me wonder if the rest of the film was going to be just as bizarre. It wasn't, and kudos should be given to the entire cast, most especially Thomas Sangster, a superb young actor who plays 10-year-old Alan. But that one scene still remains in my mind as one of the most strangely played I've ever observed. When even the sharpest critics failed to mention it, I was truly befuddled.

So what is the scene I'm objecting to? It is the moment when Bailey, played by Bernadette Peters, approaches Alan at his school and bluntly reports to him the death of his parents in a tragic auto accident. (The headmaster had chosen not to tell the boy what had happened, instead waiting for a family member -- in this case, Bailey -- to break the news.) After this sudden announcement, Alan looks only mildly surprised, glances toward the headmaster, then back to Bailey, and never sheds a tear (nor ever afterward in the film, except at the end, and not about his parents). Bailey, meanwhile, goes into some kind of odd comic shtick where she attempts to add detail. "There was a terrible accident," she says, then with a squeaky comic voice and mugging expression segues into "Ooo, it sounds like a mystery where people stand around saying, 'There's been a terrible accident, ooo, ooo....'" Immediately afterward, the film merrily bounces along as she takes the boy from the school, with hardly another mention of the tragedy that has just happened.

I couldn't believe what I was seeing. In an otherwise sensitive film of the highest quality, why did the director allow that early scene to be played that way? Wouldn't Alan have cried at the news? Wouldn't Bailey have hugged him to console him and perhaps even wept with him? I found the scene tasteless, and I thought the follow-on treatment of the accident (nearly no mention afterward) to be a convenience of the scriptwriters to get the plot moving along quickly (two lesbian lovers find themselves "mothers" to an orphaned child with resulting complications, both serious and funny). Am I the only one to have been disturbed by this scene? Or is there something I'm missing?

While Bernadette Peters and Rachel Ward did a good job of playing a couple that is suddenly presented with a 10 your old child, while dealing with other crisis. The boy who plays Allan stole this movie, he was so adorable and convincing, he is going to be a great actor someday. Watch this movie if only to see his performance, you will not be disappointed.

Okay - not a bad movie, but two major exceptions:

1. (Unfortunately) Lesbianism is still very underground in Ireland, and even more so in a suburban/rural town like Bray - so it's unlikely that that part of the story would have flown. And even more so the wedding at the end of the movie.

2. I grew up in the town this was filmed in, and went to school in Dublin. I met a total of one Jewish person over 21 years. There just aren't any! Ireland is 99% Catholic, although Bray is known to have a large population of Protestants, many from the North. But Jews? Sorry, no.

So, I came to the conclusion that the writer/producer Samuel Berstein (obviously Jewish, but obviously not lesbian!) just took his generic story and transplanted it to Bray. Don't get me wrong, it's nice to see another film set in Ireland, but a bit of reality needs to be tempered in these cases - maybe that was offset by the American/English characters, but even then the English Jewish population is pretty small, too (except in the movie business...) For the record, I am anti-racism and pro-equality (& reality)

I expected a Made-for-TV-type movie here, but got a much richer and far more touching story. A little boy is taken in by two women in Ireland when his parents die - and one of the women soon finds she has breast cancer. She isn't exactly naturally maternal to begin with, and having to deal with breast cancer makes her even less able to make the child feel loved.

The story doesn't attempt to make saints of anyone, and as such it feels very realistic. Thomas Sangster as the little boy puts in a marvelous performance that makes the film the most moving portrayal of a child since Britain's "Hollow Reed." It is a beautiful film about responsibility, life and death which anyone can relate to.