240 reviews
TRANSAMERICA Written & Directed by Duncan Tucker
A perky spokesperson is on the television. "This is the voice I want to use," she repeats, staring directly into the camera. Bree Osbourne (Felicity Huffman) watches this instructional tape, using it as yet one more step to ultimately eliminate every trace of Stanley Schupack, the man she once was and biologically still is, or at least she still will be for the next week. Bree is a pre-operation, male-to-female transsexual with a definite distaste for all things supposedly male. This means anything vulgar or classless and even her penis. She would much rather embrace all that is delicate, artistic, and insightful. These conscious decisions show gender as a performance, a calculated choice to put forth the parts of you that you identify as more innately masculine or feminine in accordance with who you want to be. In Bree's case, the decisions she makes are often awkward and misplaced, from the jerkiness of her walk to her often difficult-to-process-how -she-rationalized-that-was-a-good-look- for-her ensembles. Despite that, the decisions she makes are her own and having made them and consequently sticking with them is more important than the decisions themselves. After all, she is about to make a much bigger decision that she will have to live with for the rest of her life
Just as Bree can almost feel the jarring cold of the surgical knife on her skin, she learns that her one sexual fumble with a woman back in college, when she was still Stanley, led to the birth of a child. (oh, those silly college experimentations.) That child, Toby (Kevin Zegers), has gotten himself arrested and sent to a juvenile detention unit up in New York City. In response, Bree's therapist will not sign off on her authorization to go ahead with the surgery if Bree refuses to confront this boy and her past. Upon meeting Toby, Bree learns that he hustles to earn a living and enjoys his hallucinogenics while he is still holding on to his dream of making it in the movies. He aims high but he's still a realist, acknowledging that his big future in the film industry will likely be in gay porn. From the looks of him in his undies, I dare say he's a pretty perceptive kid, not to mention a good shot at success. In the driver's seat we have a timid and awkward father who will soon be a mother but has not divulged this much to her son. In the passenger seat, we have an ambitious and bright young man who has lost his way without realizing. And thus begins the great transamerican road trip from New York City to Los Angeles. Bree's seemingly unsolicited act of kindness inspires Toby to be a better man and return that kindness to this stranger. This cycle continues along the way as we watch two people who are so acutely aware of the roles they portray to the world, shed their thick skins and take on new roles without even realizing they're doing it. One is trying to be heard right now and the other has tried for so long not to be seen. Yet on this cross country trek, they both leave these acts they're so used to aside and embrace their new selves as a mother who helps her child see his worth and a child who makes his mother feel more like a woman than any instructional videotape or hormone she's ever seen or taken.
Felicity Huffman knows how to play a reluctant mother. As the exhausted mother of four, Lynette Scavo on television's DESPERATE HOUSEWIVES, Huffman exhibits her strengths as an actress by playing Lynette as a woman who relies on her instincts. She is protective and fierce while still sensitive and nurturing. While her television character's hesitation comes from a lack of confidence in her abilities to embody one of life's most natural roles, her TRANSAMERICA film persona holds back for mostly selfish reasons. She has not felt like herself her entire life (The look of disgust on her face when a doctor asks how she feels about her penis hits hard for how quick and harsh a reaction it is). Having a problem son to deal with and eventually confront regarding his misconceived notions about his birth father is a direct obstacle that she had not counted on. This is her initial fear but Bree is actually terrified that she has no nurturing capabilities just like her television counterpart. It is only by spending time with her son that she comes to learn that she has much wisdom to impart upon him, that she was not ruined entirely by her parents or that she could stand to learn a thing or two from him as well.
The issue of control, having it in one's life or over one's self is a struggle for most but can be even more of an arduous challenge for marginalized people, like a transsexual person. He or she not only needs to ingest numerous hormones in order be more like the person they feel they are inside which is in complete contradiction to the body they've been given but they then have to deal with the ignorance and judgment that is given to them each time they put on their armor and walk outside their door. TRANSAMERICA is a film about learning how to incorporate the person you've always known yourself to be, the person you so desperately want to become and about healing the relationships with the people you meet and touch along the winding road that gets you there.
A perky spokesperson is on the television. "This is the voice I want to use," she repeats, staring directly into the camera. Bree Osbourne (Felicity Huffman) watches this instructional tape, using it as yet one more step to ultimately eliminate every trace of Stanley Schupack, the man she once was and biologically still is, or at least she still will be for the next week. Bree is a pre-operation, male-to-female transsexual with a definite distaste for all things supposedly male. This means anything vulgar or classless and even her penis. She would much rather embrace all that is delicate, artistic, and insightful. These conscious decisions show gender as a performance, a calculated choice to put forth the parts of you that you identify as more innately masculine or feminine in accordance with who you want to be. In Bree's case, the decisions she makes are often awkward and misplaced, from the jerkiness of her walk to her often difficult-to-process-how -she-rationalized-that-was-a-good-look- for-her ensembles. Despite that, the decisions she makes are her own and having made them and consequently sticking with them is more important than the decisions themselves. After all, she is about to make a much bigger decision that she will have to live with for the rest of her life
Just as Bree can almost feel the jarring cold of the surgical knife on her skin, she learns that her one sexual fumble with a woman back in college, when she was still Stanley, led to the birth of a child. (oh, those silly college experimentations.) That child, Toby (Kevin Zegers), has gotten himself arrested and sent to a juvenile detention unit up in New York City. In response, Bree's therapist will not sign off on her authorization to go ahead with the surgery if Bree refuses to confront this boy and her past. Upon meeting Toby, Bree learns that he hustles to earn a living and enjoys his hallucinogenics while he is still holding on to his dream of making it in the movies. He aims high but he's still a realist, acknowledging that his big future in the film industry will likely be in gay porn. From the looks of him in his undies, I dare say he's a pretty perceptive kid, not to mention a good shot at success. In the driver's seat we have a timid and awkward father who will soon be a mother but has not divulged this much to her son. In the passenger seat, we have an ambitious and bright young man who has lost his way without realizing. And thus begins the great transamerican road trip from New York City to Los Angeles. Bree's seemingly unsolicited act of kindness inspires Toby to be a better man and return that kindness to this stranger. This cycle continues along the way as we watch two people who are so acutely aware of the roles they portray to the world, shed their thick skins and take on new roles without even realizing they're doing it. One is trying to be heard right now and the other has tried for so long not to be seen. Yet on this cross country trek, they both leave these acts they're so used to aside and embrace their new selves as a mother who helps her child see his worth and a child who makes his mother feel more like a woman than any instructional videotape or hormone she's ever seen or taken.
Felicity Huffman knows how to play a reluctant mother. As the exhausted mother of four, Lynette Scavo on television's DESPERATE HOUSEWIVES, Huffman exhibits her strengths as an actress by playing Lynette as a woman who relies on her instincts. She is protective and fierce while still sensitive and nurturing. While her television character's hesitation comes from a lack of confidence in her abilities to embody one of life's most natural roles, her TRANSAMERICA film persona holds back for mostly selfish reasons. She has not felt like herself her entire life (The look of disgust on her face when a doctor asks how she feels about her penis hits hard for how quick and harsh a reaction it is). Having a problem son to deal with and eventually confront regarding his misconceived notions about his birth father is a direct obstacle that she had not counted on. This is her initial fear but Bree is actually terrified that she has no nurturing capabilities just like her television counterpart. It is only by spending time with her son that she comes to learn that she has much wisdom to impart upon him, that she was not ruined entirely by her parents or that she could stand to learn a thing or two from him as well.
The issue of control, having it in one's life or over one's self is a struggle for most but can be even more of an arduous challenge for marginalized people, like a transsexual person. He or she not only needs to ingest numerous hormones in order be more like the person they feel they are inside which is in complete contradiction to the body they've been given but they then have to deal with the ignorance and judgment that is given to them each time they put on their armor and walk outside their door. TRANSAMERICA is a film about learning how to incorporate the person you've always known yourself to be, the person you so desperately want to become and about healing the relationships with the people you meet and touch along the winding road that gets you there.
- moutonbear25
- Jan 20, 2006
- Permalink
I usually avoid Transsexual movies as they make me uncomfortable ! That's why I avoided the movie "Transamerica" when it came out . But being a movie fan I kept reading reviews that were saying how great the movie was and how great the actors were . So I finally rented the movie in 2011 and viewed it for the first time . I had seen 'The Angry Inch' and it did nothing for me . Then I saw "A Soldiers Girl" and that movie stuck with me but it was violent . Then I viewed Transamerica and was at last entertained . Felicity Huffman , was an Oscar's performance to say the least and she did win that award . She was amazing and I do not think a male playing the role could have carried it off as well . All the actors were 100 percent human and able to reach the audience ! Kevin Segers is a bright spot in the movie as Toby , Bree's son that she did not know she had. Kevin's performance was nothing short of Oscar material , which he should have won something . There are a lot of great up and coming actors from Canada . And if it were not for the Canadians we would not have movies like this , and "The Barbarian Invasion''s . Hollywood just cannot come out of the closet long enough to make a movie in this genre , let alone in off the wall subjects. I gave this welcome flick 8 stars out of 10 . ciao yaaah69
TRANSAMERICA is a film where you meet people who might really exist. And real people are not only great or terrible, they are mostly both. It is the acting and the dialog which makes all the difference. The film offers a blueprinted storyline of two people who don't know each other traveling together across the US, from NY to LA. Memories of MIDNIGHT RUN and RAIN MAN do come up once in a while. But still this is everything but a Hollywood product. The main character is a Transsexual named Bree, born as a man but living the past few years as a woman, only days before her operation which will definitely make her a woman. That subject and, the fact, that the role is played by an actress signifies a very different approach to the old gender questions. The film offers funny moments too, but never makes fun about a man, wanting to be a woman. The film is very subtle, and it is really a pity when it is finally over. It displays very well that great stories don't require great budgets to make great films! 9 out of 10!
'Transamerica' is mainly a road movie about a pre-operative transsexual Bree (Huffman), her unknowing son (Zegers) and their complex yet developing relationship. There are some brilliant shots of the vast American landscapes throughout the film. This is not a predominant social rights movie. It focuses more on the relationship between the two protagonists. It's about about individual acceptance rather than social approval. It's not a tragic piece either. In spite of involving a risky subject, Tucker cleverly gives a comic touch to his writing by balancing it with the drama without making any of it even slightly melodramatic.
Bree is just a couple of days away from fulfilling her dream of becoming a women when suddenly she receives an unexpected phone call saying that her son's in jail. Bree is reluctant and not too happy about facing her past but after taking her therapist Margaret she goes to New York and bails her son out of jail and decides to drive with him to L.A. During this trip they tell each other about their lives (the use of flashbacks has been cleverly avoided).
Felicity Huffman delivers a brave and fantastic performance of what she herself described as the role of a lifetime. She displays Bree with insecurity, pathos, fear, humour and growth which really makes one forget that they're actually looking at an actress act. Her use of non-verbal language is remarkable. While in the beginning the audience may feel that they're looking at an ugly freak, one can't help but love the character after the end credits have rolled. Kevin Zegers intensely underplays his part as Bree's son Toby and does a fine job. Elizabeth Pena, Graham Greene and Fionulla Flanagan stand out in smaller roles.
'Transamerica' is a wonderful sincere film about very real people. It's about a woman and her son surviving in a difficult world. Though many have described Huffman's performance to be of Oscar calibre, the Oscars have rewarded many non-deserving performances. It is definitely one of the most challenging performances and one that will be remembered in the history of cinema. A fine piece of cinema.
Bree is just a couple of days away from fulfilling her dream of becoming a women when suddenly she receives an unexpected phone call saying that her son's in jail. Bree is reluctant and not too happy about facing her past but after taking her therapist Margaret she goes to New York and bails her son out of jail and decides to drive with him to L.A. During this trip they tell each other about their lives (the use of flashbacks has been cleverly avoided).
Felicity Huffman delivers a brave and fantastic performance of what she herself described as the role of a lifetime. She displays Bree with insecurity, pathos, fear, humour and growth which really makes one forget that they're actually looking at an actress act. Her use of non-verbal language is remarkable. While in the beginning the audience may feel that they're looking at an ugly freak, one can't help but love the character after the end credits have rolled. Kevin Zegers intensely underplays his part as Bree's son Toby and does a fine job. Elizabeth Pena, Graham Greene and Fionulla Flanagan stand out in smaller roles.
'Transamerica' is a wonderful sincere film about very real people. It's about a woman and her son surviving in a difficult world. Though many have described Huffman's performance to be of Oscar calibre, the Oscars have rewarded many non-deserving performances. It is definitely one of the most challenging performances and one that will be remembered in the history of cinema. A fine piece of cinema.
- Chrysanthepop
- Sep 8, 2007
- Permalink
"Transamerica" follows the trajectory of the long tradition of road movies with opposites paired up on a voyage of self-discovery, with stops along the way to their pasts.
The gimmick here recalls "Broken Flowers"s trip when another biological father discovers a son. Here, it's not just that the person who produced the sperm is on the verge of transsexual completion that helps the film rise above various genre clichés (there was more than passing similarity to scenes from such films as "The Sure Thing," "Smoke Signals," and "Midnight Run" in debut writer/director Duncan Tucker's script, plus unfortunate throwback images of the south from "Deliverance" and way over-the-top dysfunctional families, and some Native American commentary on transsexuals coinciding with a convenient appearance by the ever estimable Graham Greene.)
As graphically embodied in two terrific performances, "Bree" (Felicity Huffman as née "Stanley") and the new-found son "Toby" have opposite relations to their bodies. Having felt like a stealth woman trapped in a man's body, "Bree" is naive to the pleasures of the flesh and is used to having to be wrapped up tight in her struggle to control normality that has impeded every part of her life.
"Toby" is an abused gay hustler who probably for good reason and profit assumes that people of either gender or those in-between are responding to him physically (and Kevin Zegers is such an unfettered, tousled Adonis that he is even more sensual than Joseph Gordon-Levitt's somewhat similar screwed-up kid in "Mysterious Skin").
Both have had only negative experiences with family, as we see along the way, and both have a lot to learn about the parent/child relationship and honesty.
While it makes it too easy for the audience's perception to have the transsexual be played by an actress (like Vanessa Redgrave as Renee Richards or Olympia Dukakis in "Tales of the City" or Famke Janssen on "Nip/Tuck" vs. Terence Stamp in "The Adventures of Priscilla, Queen of the Desert") with only two momentary reversion lapses to masculine mannerisms played for laughs and revelation, at least for more realism "Bree" is not in the arts or some high-powered white-collar job.
There were a lot of chuckles throughout the film, but I was surprised that not all of the folks at the crowded opening weekend matinée of a very mixed gay and straight audience joined in. (Though the two guys next to me who had been discussing "Lord of the Rings" just before the film started were uproarious at "Toby"s analysis of the gay sub-text in that story.) It was a cheap shot for easy laughs to have "Bree" be half-Jewish.
While I thought it was for symbolism that the two have a key stop-over in Phoenix, it turns out that was filmed at the director's parents' house in Arizona. I presume the kid's concluding black cowboy hat and blond hair is a bit of an homage to "Midnight Cowboy."
The soundtrack selections are excellent reflections of the environments the characters are in, from Latin in California, to hip hop in New York to a lovely range of Southern country and gospel, moving through Texas with a Lucinda Williams track, Native American in New Mexico, with a beautiful new Dolly Parton song over the credits that should get an Oscar nomination.
The gimmick here recalls "Broken Flowers"s trip when another biological father discovers a son. Here, it's not just that the person who produced the sperm is on the verge of transsexual completion that helps the film rise above various genre clichés (there was more than passing similarity to scenes from such films as "The Sure Thing," "Smoke Signals," and "Midnight Run" in debut writer/director Duncan Tucker's script, plus unfortunate throwback images of the south from "Deliverance" and way over-the-top dysfunctional families, and some Native American commentary on transsexuals coinciding with a convenient appearance by the ever estimable Graham Greene.)
As graphically embodied in two terrific performances, "Bree" (Felicity Huffman as née "Stanley") and the new-found son "Toby" have opposite relations to their bodies. Having felt like a stealth woman trapped in a man's body, "Bree" is naive to the pleasures of the flesh and is used to having to be wrapped up tight in her struggle to control normality that has impeded every part of her life.
"Toby" is an abused gay hustler who probably for good reason and profit assumes that people of either gender or those in-between are responding to him physically (and Kevin Zegers is such an unfettered, tousled Adonis that he is even more sensual than Joseph Gordon-Levitt's somewhat similar screwed-up kid in "Mysterious Skin").
Both have had only negative experiences with family, as we see along the way, and both have a lot to learn about the parent/child relationship and honesty.
While it makes it too easy for the audience's perception to have the transsexual be played by an actress (like Vanessa Redgrave as Renee Richards or Olympia Dukakis in "Tales of the City" or Famke Janssen on "Nip/Tuck" vs. Terence Stamp in "The Adventures of Priscilla, Queen of the Desert") with only two momentary reversion lapses to masculine mannerisms played for laughs and revelation, at least for more realism "Bree" is not in the arts or some high-powered white-collar job.
There were a lot of chuckles throughout the film, but I was surprised that not all of the folks at the crowded opening weekend matinée of a very mixed gay and straight audience joined in. (Though the two guys next to me who had been discussing "Lord of the Rings" just before the film started were uproarious at "Toby"s analysis of the gay sub-text in that story.) It was a cheap shot for easy laughs to have "Bree" be half-Jewish.
While I thought it was for symbolism that the two have a key stop-over in Phoenix, it turns out that was filmed at the director's parents' house in Arizona. I presume the kid's concluding black cowboy hat and blond hair is a bit of an homage to "Midnight Cowboy."
The soundtrack selections are excellent reflections of the environments the characters are in, from Latin in California, to hip hop in New York to a lovely range of Southern country and gospel, moving through Texas with a Lucinda Williams track, Native American in New Mexico, with a beautiful new Dolly Parton song over the credits that should get an Oscar nomination.
I first saw Transamerica as the closing film for the Frameline film festival in San Francisco where it won the "The Frameline Audience Award for Best Feature". The film was obviously a labor of love. Duncan Tucker wrote, directed and wisely cast Felicity Huffman as Bree (before she had been cast as a "desperate housewife"). Huffman's husband William Macy was executive producer.
The plot line is certainly the tried and true formula of the transformational road trip, yet the irony of Bree's concurrent sexual transformation freshens a story that could easily have been cliché. Kevin Zegers and the rest of the supporting cast are superb, but Huffman's characterization of Bree is Oscar caliber.
See Transamerica! It's not tragic like "Boys Don't Cry". It's not about sexuality, fetish, or camp. It's a movie about otherness, transformation, family, and ultimately acceptance. Felicity Huffman's Golden Globe winning and Oscar nominated performance is absolutely astounding. Her acting skill fills Bree with insecurity, pathos, warmth, humor, and growth which ultimately transforms the audience's involvement from freak show curiosity to empathy and identification.
Thankfully the Weinstein brothers recognized just how outstandingly strong this performance is and decided that Transamerica would be one of the first films they would choose to distribute after their great success at Miramax.
I saw this movie again during it's limited distribution, again in general distribution and now own the DVD. Each time I've watched it I find even more to like. Transamerica is an indie classic.
The plot line is certainly the tried and true formula of the transformational road trip, yet the irony of Bree's concurrent sexual transformation freshens a story that could easily have been cliché. Kevin Zegers and the rest of the supporting cast are superb, but Huffman's characterization of Bree is Oscar caliber.
See Transamerica! It's not tragic like "Boys Don't Cry". It's not about sexuality, fetish, or camp. It's a movie about otherness, transformation, family, and ultimately acceptance. Felicity Huffman's Golden Globe winning and Oscar nominated performance is absolutely astounding. Her acting skill fills Bree with insecurity, pathos, warmth, humor, and growth which ultimately transforms the audience's involvement from freak show curiosity to empathy and identification.
Thankfully the Weinstein brothers recognized just how outstandingly strong this performance is and decided that Transamerica would be one of the first films they would choose to distribute after their great success at Miramax.
I saw this movie again during it's limited distribution, again in general distribution and now own the DVD. Each time I've watched it I find even more to like. Transamerica is an indie classic.
This film features an Oscar-nominated performance by Felicity Huffman and was produced by Huffman's husband, William H. Macy.
A woman in the midst of her gender transition (man to woman) is denied permission for the ultimate surgery until she has come to terms with her son (Kevin Zegers), who has just rung up out of nowhere -- she didn't know she fathered a son during some youthful fling.
She leaves California for the East Coast, to get her gorgeous young son out of jail, without telling him she's his father. They drive across America, meet people, have adventures, get on each other's nerves. Every time they get in to the car, some annoying country music plays. Very old fashioned.
Although there is merit here, and the film is moderately interesting, the stereotypes are annoying. One is sympathetic to someone who is transitioning, but does the transition need to be to a woman who must dress in pink and says things like, "Don't talk like that to a lady!" There's lots of simpering going on. OK -- she has one good line: "I'm a transsexual, not a transvestite." For the son's part, he's been jailed for working as a rent boy. Does he have to seem so depressed when he turns a trick? And Huffman's mother, played by Fionnulla Flanagan, is the most awful mother stereotype of all, who can't deal with the fact that her son is becoming a woman until she suddenly does deal with it.
This movie deals sympathetically with an important issue; but did they have to throw every cliché in the book at it? And the worst cliché of all: Lying is the worst sin. And if you are technically a male, never deny it, particularly to your son (although he doesn't know he's her son at that point, he just thinks she's some nice religious lady), because he'll get really, really upset, but not because of the male genitals, but because you lied to him.
How does this all work out? Does it all work out? Watch and find out. Still I'd recommend it because it does try and deal with a complex subject that isn't that well understood now and probably much less so when this film was made over a decade ago.
A woman in the midst of her gender transition (man to woman) is denied permission for the ultimate surgery until she has come to terms with her son (Kevin Zegers), who has just rung up out of nowhere -- she didn't know she fathered a son during some youthful fling.
She leaves California for the East Coast, to get her gorgeous young son out of jail, without telling him she's his father. They drive across America, meet people, have adventures, get on each other's nerves. Every time they get in to the car, some annoying country music plays. Very old fashioned.
Although there is merit here, and the film is moderately interesting, the stereotypes are annoying. One is sympathetic to someone who is transitioning, but does the transition need to be to a woman who must dress in pink and says things like, "Don't talk like that to a lady!" There's lots of simpering going on. OK -- she has one good line: "I'm a transsexual, not a transvestite." For the son's part, he's been jailed for working as a rent boy. Does he have to seem so depressed when he turns a trick? And Huffman's mother, played by Fionnulla Flanagan, is the most awful mother stereotype of all, who can't deal with the fact that her son is becoming a woman until she suddenly does deal with it.
This movie deals sympathetically with an important issue; but did they have to throw every cliché in the book at it? And the worst cliché of all: Lying is the worst sin. And if you are technically a male, never deny it, particularly to your son (although he doesn't know he's her son at that point, he just thinks she's some nice religious lady), because he'll get really, really upset, but not because of the male genitals, but because you lied to him.
How does this all work out? Does it all work out? Watch and find out. Still I'd recommend it because it does try and deal with a complex subject that isn't that well understood now and probably much less so when this film was made over a decade ago.
I saw Transamerica last night at the Tribeca Film Festival and absolutely loved it. I was concerned beforehand that I would not be able to relate to the characters, but that turned out not to be a problem. The acting of Felicity Huffman and Kevin Zegers is done with so much sincerity that I quickly came to care about their characters. Ms. Huffman's performance is one of the best I have seen. Having not seen any of her television or movies, I did not know anything about her. In fact, I thought that she was truly a man playing the part of the transsexual woman. The script was always believable and allowed Ms. Huffman to show some wry humor. The writer/director Duncan Tucker was there to make a few comments answer questions. The only problem is that the film has not yet been picked up by a distributor so if you want to see it (and you should) you may have to find a film festival somewhere.
- Nightscream
- Jun 12, 2005
- Permalink
The journey Ms. Huffman takes in TRANSAMERICA is one in which many will identify with in needing to become the person you really should be. Ms. Huffman's performance as a "man into a woman" played by a woman is a miracle and a triumphant film performance that an audience should see to fully understand the brilliance of what an actor can transform on film, as well as for the warm, intelligent character, Bree, becomes on the screen.
Please, give Felicity Huffman the Oscar NOW!!! And, The young, brilliant actor, Kevin Zegers, as Toby, commands the role as Bree's son in TRANSAMERICA with just as painful a journey as Bree in wanting to have a better life for himself. Toby and Bree are two soul mates waiting to discover one another, ironically as father and son,as this film brings to a wonderful conclusion.
TRANSAMERICA is a film that should be seen to be understood; a film that presents two characters, father and son, who take a journey together that will change their lives forever. When the Award season commences, Felicity Huffman and Kevin Zegers should be on the stage to receive awards for characters that warm your heart and take you back in time with questions on your own life's directions.
Please, give Felicity Huffman the Oscar NOW!!! And, The young, brilliant actor, Kevin Zegers, as Toby, commands the role as Bree's son in TRANSAMERICA with just as painful a journey as Bree in wanting to have a better life for himself. Toby and Bree are two soul mates waiting to discover one another, ironically as father and son,as this film brings to a wonderful conclusion.
TRANSAMERICA is a film that should be seen to be understood; a film that presents two characters, father and son, who take a journey together that will change their lives forever. When the Award season commences, Felicity Huffman and Kevin Zegers should be on the stage to receive awards for characters that warm your heart and take you back in time with questions on your own life's directions.
- screenwriter-14
- Dec 1, 2005
- Permalink
- MidtownBettie
- May 1, 2009
- Permalink
Huffman did a terrific job of making me forget a "star" was doing the title role. Her performance was incredibly authentic. You could just feel the uncomfortableness of Bree as we see her start her journey (both figuratively and literally) and gets to know the son she never knew she had.
Moments of this movie had me laughing out loud. Others brought me near tears. If you see one movie this year, this should be it. It is movies like this that give me hope that some people still care about quality film-making.
A little gossip: the director said that Huffman enthusiastically agreed to do this film and then when it was almost time to start shooting, he found out she had to go to Hollywood in 3 months to shoot "some stupid pilot." Yes, THAT stupid pilot.
Moments of this movie had me laughing out loud. Others brought me near tears. If you see one movie this year, this should be it. It is movies like this that give me hope that some people still care about quality film-making.
A little gossip: the director said that Huffman enthusiastically agreed to do this film and then when it was almost time to start shooting, he found out she had to go to Hollywood in 3 months to shoot "some stupid pilot." Yes, THAT stupid pilot.
This was my favorite film of the Tribeca festival. Felicity Huffman's performance is incredible and grabs you from the first scene. It was a smart, poignant and funny film. Some of the characters are too thinly drawn, some of the humor too inappropriately broad but those were minor issues for me. Though rooted in some ways in standard plot devices, the transgender protagonist makes all the difference in the world. Which, in a way, is kind of the point -- how we view people's differences (with acceptance or disdain) says a lot about who we are. Of course, it played well here in New York City. But what about the rest of Bush's America? By the way, I was told that Lions Gate picked up the film for distribution.
- jhnnypanic
- May 3, 2005
- Permalink
Last week a family getting ready to move gave my wife and I a bag of books and a few films. One of the films was Transamerica. I glanced at the front and back and through "Hmmm, I didn't I know Mrs. H. was into weird movies". A few nights later my wife and I decided to give the film a try. The film was great, we're so tired of the same old Hollywood stuff, action, special effects, top dollar actors who could care less about the characters. The film captured us in the very beginning, we both empathized with Bree, understood her struggle, pain, and basic desire to be herself. The road trip was a great part of the film. I enjoyed the Calvin Manygoats and the meeting with her parents (the mom was great). I grew uncomfortable with Toby's desire to have sex with his biological father, as well as the tryst with the trucker, but this was an intergral part of the story and the film was very realistic. I learned a lot about the struggle and pain that these people have in life, it made me more accepting of their lives. I would recommend this film to anyone who enjoys a good story, exceptional acting, and good dialog. It's a very good film.
- swamprat_21
- Nov 7, 2011
- Permalink
Felicity Huffman was probably very brave in taking on the role of a pre-operative male-to-female transsexual, however Huffman rarely comes off noble in this part--it isn't an overtly "courageous", actressy turn--and she's wonderful to watch. The film, a slight road-comedy/drama about eccentrics and family, isn't so much stifled by the medium-sized budget as it is by a lack of substantial story elements (it rests a bit too easily on its colorful vignettes). However, there's genuine feeling behind Huffman's plight, her desire to connect with a son she didn't realize she had--and yet keep him (and all serious issues) at bay. Huffman's "Bree" is a nervous ninny, a ridiculously well-spoken and educated creature who thinks that all good deeds reap a payback. The movie, written and directed by Duncan Tucker, is somewhat short on ambition, however this occasionally works to its advantage as the film doesn't preach to a non-converted audience nor does it condescend to outcasts. With beautiful soundtrack music and some very funny and touching sequences, it's a minor treat. **1/2 from ****
- moonspinner55
- Mar 20, 2007
- Permalink
- Slayyeretta
- Feb 12, 2006
- Permalink
If your looking to open your eyes on sexual identity then this movie might have something for you. If your looking to learn more about trans-gender people then once again this movie might have something for you, but i would recommend Boy's Don't Cry over it any-day. The story line is thoughtful and pure. It's a tale of overcoming selfishness and lies, to find a solid ground. One that won't crumble under your feet so easily. The movie is about family, searching for acceptance and haunted pasts. It's about doing what's right not only for you , but for people you have just met. The movie is a simple concept, true. But an honest one full of complex characters. And at times it hits close to home with all thats happening under the radar behind the closed doors of America. The only problem i had with this movie is after awhile i lost attention. It dragged. The story slowed down when it needed to move the most. So, what this movie is not, it's not life changing, or cut out for someone wanting to walk away saying wow, that movie was astounding.
- KnowOne1988
- Jan 14, 2007
- Permalink
Felicity Huffman gives, hands down, one of the sharpest and bravest performances I have seen this year as Sabrina "Bree" Osbourne, a LA-based transsexual a week away from his/her final operation to rid himself/herself of the genitalia that reminds him/her that he/she was once an unhappy man named Stanley. However, this is not an extended, over-the-top comedy skit, nor a preachy social commentary film on changing sexual roles. Rather, it is an often ribald farce that gains its dramatic resonance from the spiraling convolutions of the plot and an unexpected poignancy at key moments along the way.
With his first feature-length film, director-writer Duncan Tucker has fashioned a spirited road movie that matches Bree with the 17-year old son he/she ever knew existed, Toby, a homeless, teen-aged delinquent who was the product of Stanley's fumbling attempt at sexual relations with a long-ago girlfriend who recently died. A true odd couple along the lines of Walter Salles's "Central Station", Bree and Toby make a cross-country trek from New York, where Toby was in custody, back to LA. It all sounds pretty contrived. However, in conveying Bree's prim manner, academic wellspring of knowledge and droll humor, Huffman grounds the film with an amazingly convincing impersonation of a man on the threshold of becoming a woman physically and struggling to keep up with the gender transition emotionally.
Tucker wisely paints Bree's menial job as a telemarketer as a way to disclose that Stanley has been struggling for years to build the self-worth to become a woman, and Huffman responds with her character's weary demeanor and tense posture. In what could have been a minefield of burlesque comedy opportunities, there is not a single false note in her acting, as she makes the controlled lady-like movements and studied vocal intonations believable traits of Bree. She is also made up simply without fuss (an expert job by Jason Hayes) to look credibly like she is precariously on the male-female border with a constant fear of falling back to her character's old self.
Fortunately, Huffman is surrounded by a strong supporting cast. Although he often seems to be channeling Edward Furlong and Leonardo Di Caprio in portraying Toby's sullenness, Kevin Zegers captures his character's confusion and angst with emotional accuracy. Tucker also wisely uses some wonderful, under-the-radar actors in key roles Elizabeth Peña (whom I have not seen since her poignant turn in John Sayles's 1996 "Lone Star") as Bree's strong-minded therapist Margaret; Graham Greene (Kicking Bird in "Dances with Wolves") as Bree's wishful suitor Calvin Manygoats in a sweetly rendered episode of unrequited love; and a surprisingly laid-back Burt Young (Paulie in all the Rocky films) and an especially histrionic Fionnula Flanagan as Bree's parents heavy in denial over their offspring's decision.
In fact, Young, Flanagan and Carrie Preston as Bree's cynical, addiction-recovering sister Sidney are all hilarious in the movie's comedy peak as the dysfunctional family from hell when Bree and Toby barely make it to her hometown, Phoenix, prior to her operation. The family feeds almost too easily into Bree's self-doubt but ultimately act as most families do when crises occur. The film has a few serious moments that veer toward melodrama to heighten the revelations involved, but Tucker thankfully does not belabor them, favoring instead the shrewd, absurdist comedy elements. This is definitely an unexpected gem worth seeking out.
With his first feature-length film, director-writer Duncan Tucker has fashioned a spirited road movie that matches Bree with the 17-year old son he/she ever knew existed, Toby, a homeless, teen-aged delinquent who was the product of Stanley's fumbling attempt at sexual relations with a long-ago girlfriend who recently died. A true odd couple along the lines of Walter Salles's "Central Station", Bree and Toby make a cross-country trek from New York, where Toby was in custody, back to LA. It all sounds pretty contrived. However, in conveying Bree's prim manner, academic wellspring of knowledge and droll humor, Huffman grounds the film with an amazingly convincing impersonation of a man on the threshold of becoming a woman physically and struggling to keep up with the gender transition emotionally.
Tucker wisely paints Bree's menial job as a telemarketer as a way to disclose that Stanley has been struggling for years to build the self-worth to become a woman, and Huffman responds with her character's weary demeanor and tense posture. In what could have been a minefield of burlesque comedy opportunities, there is not a single false note in her acting, as she makes the controlled lady-like movements and studied vocal intonations believable traits of Bree. She is also made up simply without fuss (an expert job by Jason Hayes) to look credibly like she is precariously on the male-female border with a constant fear of falling back to her character's old self.
Fortunately, Huffman is surrounded by a strong supporting cast. Although he often seems to be channeling Edward Furlong and Leonardo Di Caprio in portraying Toby's sullenness, Kevin Zegers captures his character's confusion and angst with emotional accuracy. Tucker also wisely uses some wonderful, under-the-radar actors in key roles Elizabeth Peña (whom I have not seen since her poignant turn in John Sayles's 1996 "Lone Star") as Bree's strong-minded therapist Margaret; Graham Greene (Kicking Bird in "Dances with Wolves") as Bree's wishful suitor Calvin Manygoats in a sweetly rendered episode of unrequited love; and a surprisingly laid-back Burt Young (Paulie in all the Rocky films) and an especially histrionic Fionnula Flanagan as Bree's parents heavy in denial over their offspring's decision.
In fact, Young, Flanagan and Carrie Preston as Bree's cynical, addiction-recovering sister Sidney are all hilarious in the movie's comedy peak as the dysfunctional family from hell when Bree and Toby barely make it to her hometown, Phoenix, prior to her operation. The family feeds almost too easily into Bree's self-doubt but ultimately act as most families do when crises occur. The film has a few serious moments that veer toward melodrama to heighten the revelations involved, but Tucker thankfully does not belabor them, favoring instead the shrewd, absurdist comedy elements. This is definitely an unexpected gem worth seeking out.
Duncan Tucker's 'Transamerica' is a road trip film about self-discovery, being true to oneself, and loving yourself in order to fully love others. The film deals thoughtfully with a pressing issue of representing the complexity of gender, but it frequently lapses into some of the trappings of a conventional formula road-trip film, complete with all of the requisite touchy-feely happy moments that such a film requires. It's still a joy to see, thanks in large part to Felicity Huffman's brilliant performance. Huffman develops such an engaging and endearing character. Her performance is impeccable.
- Sir_AmirSyarif
- Nov 13, 2021
- Permalink
11103829 The director of this film, Duncan Tucker, stated that he wanted a female actress to play the role of Bree, a character who is a transsexual woman, because it would allow Bree to become the woman she wants to be. Felicity Huffman was cast in this role, and although she did an incredible job, I don't think the choice of a biological female was necessary to give the character Bree the life she always wanted. In my opinion, Tucker's statement contrasts the important message this film gives, which is to find oneself, and oneself can be in any gender, sex, identity or expression. Bree became the woman she wanted to be in the end, but it would have been achieved regardless of the actor's biological sex. I also think that the choice to have a female cast in the role shows that gender is and can be a performance, and that anyone can create a new or different identity for themselves. The fact that Huffman is a female that plays a transsexual woman who was previously a man, connects the goal of the film and can work in many different ways. Huffman's deeper voice and exaggerated feminine mannerisms gave a realistic performance of a transsexual woman, which shows that gender is a performance and something that is constructed. Performance can be learned and put to use for individuals trying to transition to the opposite sex. This film was well done and successfully showed a realistic story of a transsexual woman, and the struggles that many transsexual women may go through. I did wish to see a transsexual woman in the role, because it would provide the opportunity for a transsexual woman to have a lead role, and possibly become a more widely known actor
- tigger_bounces33
- May 27, 2013
- Permalink
I have never seen Desperate Housewives, and before seeing this film, I had no idea of what actor or actress played the lead. As I watched the film, I thought that the actor was doing an outstanding job, and then later I thought that the actor must be an actual transsexual. After the film ended, my companion told me the lead was played by Felicity Huffman. A woman. From birth.
Having no advance knowledge of Ms. Huffman or her prior performances, but having had prior knowledge of transsexuals, I must say that she was absolutely convincing--a truly astonishing performance.
I don't want to slight the other actors and actresses, there wasn't a weak link in this ensemble. This was a thoroughly enjoyable film. It is not for children, but I think that most adults will not regret seeing it.
Having no advance knowledge of Ms. Huffman or her prior performances, but having had prior knowledge of transsexuals, I must say that she was absolutely convincing--a truly astonishing performance.
I don't want to slight the other actors and actresses, there wasn't a weak link in this ensemble. This was a thoroughly enjoyable film. It is not for children, but I think that most adults will not regret seeing it.