Nothing Is Private

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 may have the strangest opening that I have ever seen. A thirteen year old girl has her pubic hair shaved for "instructional purposes" by her mothers boyfriend; holy sh**. This traumatic event causes the young Lebanese-American girl to be sent to live with her very strict father in Houston, Texas.

This is during the Gulf War in 1990, to complicate the situation even further. Her dad winds up taking her to a supermarket to shop for tampons, in another bizarre moment, of which there are many. Jasira baby sits Zach, the boy next door. She discovers his porn magazines, and this triggers sexual feelings in her. She messes around with a classmate, Thomas, and Zach's father expresses interest in the lass. He tells her that he will be leaving for Iraq the next morning, and he convinces her to have sex with him. Afterwords, all hell breaks loose, as "family values" takes on a whole new meaning. Towelhead is somewhat entertaining and funny, and the then nineteen year old Summer Bishil looks much younger, as Jasira, and shows promises as an actress. Compared with other coming-of-age movies, this is one of the good ones.

Just left the Sundance premier. They changed the title back to Towelhead, kind of a harsh turn-off while choosing a movie, but I guess that was the name of the semi- autobiographical novel. The author was present and looks well recovered from her childhood.

I can see why many reviewers hate this movie. It's cringe-worthy to watch the sexual awakening of a pubescent teen, when her parents and other important adults are childishly self-centered, in contrast to her own childlike innocence, honesty and vulnerability. That contrast and that cringe are what make it real and relevant. An unnerving part of the story is that the protagonist is never a victim. She is too inexperienced and too unmentored to act in what an adult would consider her own best interest, at least at first. But, she never participates in anything against her will. She is never denied her freedom, at least no one who tries to restrict her has the will and persistence to succeed for long. Hers is not to suffer, then be redeemed and live happily ever after. Hers is to introduce sex into her life this way, then go on.

Regarding the mechanics of the movie, it is explicit, but not graphic. Viewers hoping for teen porn will be disappointed, body parts stay covered or concealed by camera angles.

The story engages all types of Americans around this kid's ambivalent choices, a socially liberal me-generation mom, a conservative Christian Arab Dad, right-wing white Christian neighbors, liberal social activist neighbors, a middle class black friend, and a Latina mom- figure who mistakes her of one of her own. The acting is great. As one would expect, there's lots of room for humor. Once over the cringing,if you did get over it, it was an engaging and thought-provoking movie.

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.

"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.