Nothing Is Private

Towelhead's themes of racism, sexual development and the horrors that lie in the dark abyss of suburbia basically come down to one thing: stereotyping. The film goes through many different lives and stories, all through the eyes of 13-year old Jasira (played with great bravery and intelligence by Summer Bishil). Through her eyes we see how everyone around her is just stereotyped immediately by the people living in this world and even by the audience. The aggressive Arab-American, the ignorant redneck pedophile, the horny black teenager, the pregnant hippie, etc. All of these typical characters are alive in this world and while they do have some of the characteristics that you would expect from the stereotypes of the character, Alan Ball does a good job of making them more diverse, complex and simply human than you would expect.

There were some things I really liked and some that I really didn't like. It all felt kind of awkward to me, but I think that helped the themes of the story in a way. Either way, Aaron Eckhart gave a really fantastic performance. He uses that boyish charm and those unimaginably handsome looks to make a horrifically despicable character borderline likable until his final scenes. One of those performances where you know that he's only going to bring horrible things to the main character's life and he makes you so uneasy when he's in a room alone with her, but you can't take your eyes off of him. A truly fascinating performance. I really think he's one of the very best actors working today. Peter Macdissi and Summer Bishil were also great, just a little less-so than Eckhart.

I was fortunate to view this movie in a cinema in the same weekend as I saw a stage performance of Moliere's "The Learned Ladies" and a DVD of "Memoirs of a Geisha". All three deal with the reaction of girls on the brink of womanhood who react in different ways to the pressures society has placed on them. Moliere was a favorite of Louis XIV in 1670, and his treatment of these pressures is remarkably pertinent to out own times. His play is instructive, as is "Towelhead". By drawing attention to the girls' problems, these dramas are warning us of the way society is treating young women. They are victims. Moliere uses farce and poetry, "Towelhead" uses conflict and some wry humor. The Geisha endures a life of conflict with no comic relief. All three shows produce the same message: don't let this happen to you. "Towelhead" is reputed to be autobiographical, and "Geisha" would appear to be so.

"Towelhead" is distinguished by some clever cinematography, let down perhaps by some careless editing. Nevertheless, the actors' performances are excellent, with most of the cast in roles that reveal them as childish. The drama unfolds not by having them grow up, but by having the protagonist mature and become decisive, just as did Moliere's girl did. There is an outstanding performance by Toni Collette as the pregnant neighbor who plays an important part in the youngster's maturing.

This is one odd, disturbing, strange little movie that is as seductive as it is uncomfortable to watch. The ensemble cast is a standout but Summer Bishil absolutely steals this one by delivering an amazingly adult performance of an almost impossible role, and Peter Macdissi, as her father, is also excellent with a heavily nuanced complex character.

I'd also like to point out this movie has more WTF moments than anything I've seen in recent memory.

Another thing I was struck with is just how commonplace, how "normal" the events in this girl's life appear, and that is even more disturbing.

I'd like to close by saying this movie will not be enjoyed by everyone, nor will it be understood by everyone. This is a major piece of film-making and a major piece of storytelling, though, and if you don't mind extremes, definitely give this one a try.

"Towelhead" is an incredibly honest and sincere movie. It tells its story without pretense, without agenda, and without b.s.

Looking at the IMDb reviews and ratings, it appears that not everyone enjoys this movie. If you are made uncomfortable by the honest portrayal of adolescent sexuality, racism, sexism, bad parenting, sexual assault, and sexual predation, then you will not enjoy this movie.

If you are like myself and my wife, and you feel that dealing with the life of a young woman torn between cultures and divorced parents, objectified by a society that also rejects her, and as confused and eager and scared of her own sexuality as every young teen has ever been, then you feel this is one of the best films of the year.

But not everyone is going to be comfortable with honesty. I found it to be a wonderful breath of fresh air. Others will be made uncomfortable and will then make up reasons to dislike it. I even read a review by someone who somehow thought that the villain of the story, the clear, obvious villain, was the hero.

Jasira Mourain(a heart-draining Summer Bishil)is surrounded by what appears to be a rogues gallery of adults and peers,whether it's back in Syracuse with her unstable and fickle mom(Maria Bello)or out in Houston,Texas with her culturally conservative and somewhat selfish father(Peter Macdissi). It's in Texas that Jasira also ends up being relocated to a school full of bigots and well-intentioned but thick-headed sorts(as if being in middle school WASN'T tough enough)who make her already tenuous growing up with her father just that much more difficult. Things don't improve when she strikes an association with a neighbor family headed by a prejudiced yet overly friendly Army reservist(Aaron Eckhart,almost phoning this one in),nor when she inspires the interest(mutual,of course)with a well-intentioned and attractive black kid(Eugene JonesIII).

Writer/director Alan Ball(American Beauty,"Six Feet Under")is clearly NOT shy about broaching sensitive issues,and his attempt to illustrate the cruel,arbitrary behavior that can come from racism certainly has the sufficient amount of pop and sizzle to it,but it seems like the raw,unrelenting frankness of this story borders on leering and sleaziness,not to mention cruelty. The performances are at least heartfelt and carry a grace about them that doesn't make this TOO preachy or obvious,and the way this story is folded out(using the parameters of Fall 1990 thru March 1991,which was the build-up to start and finish of the first Gulf War)certainly draws this away from post-911 type ready-made drama. But it's timber,it's dangling story lines(the relationship with the mom is just glanced upon) and somewhat out-of-rhythm ending sort of monkey wrenches this from being the cut-above type movie it strives to be. Perhaps I'm judging this film on a knee-jerk type of response,but I think it is still very telling of the kind of product it is.

Intriguing and not without its merits,it's a curiosity of a film,but it's not going to show the viewer much mercy,neither in topic nor in emotional tone.