|my summer of love
Written and Directed: Pawel Pawlikowski
My Summer of Love - the smash hit of the 2004
festival season - to me seemed to strike an odd, languid chord.
For a film that could have been suspenseful considering the ugly
and violent turn it makes towards its finale, this sleeper meanders
along at such a slow pace that it barely even needs to put the
brakes on to throw in a plot twist or two and head perplexingly
in the other direction.
Also, for a film about love between two women it seems entirely
devoid of insight into what relationships between women are about,
especially young women just figuring out what their wants and
desires really are. The title of the film couldn't be more ironic.
To steal a line from my friend who watched with me, this movie
could well have been called "My Summer of Substance Abuse".
Pot, magic mushies, alcohol, these substances all fuse to heighten
the disturbed mindsets of the protagonists. Any attempt at moderation
or reason gets well and truly chucked out the window and all the
two main characters seem to do is react to each other rather than
think for themselves. The film seems to try for that same removed,
fanciful feeling that Heavenly Creatures creates
between the two main characters, only here instead of being a
product of overactive imaginations the make-believe world is fueled
with lies, infatuation, drugs and, in the case of the brother,
My Summer of Love is set in a small, Yorkshire
town at the height of summer. Quite spectacular cinematography
serves to set the scene for us, washing the town and its inhabitants
in glorious brown, yellow and orange hues. In this town Mona lives
with her older brother Phil, above the pub that was left to them
when their mother died. Phil has just returned from a stint in
prison, having found God while he was there, and has decided to
turn the pub into a prayer house or temple or something like that.
Mona meets Tamsin in the fields by chance. Tamsin is a typical,
spoiled, rich brat home for the holidays, ignored by her parents
and able to get away with pretty much anything she wants to. The
two girls strike up a friendship more out of boredom than anything
else. Then they bond over stories of deaths in their families,
Mona's mother who died of cancer and Tamsin's sister who has recently
died of anorexia.
Soon the two girls are doing everything together. They begin
to reveal their innermost secrets, fears, desires. Gradually the
relationship becomes one of sexual exploration. I say exploration
rather than passion deliberately. There is no sexual chemistry,
just a mutal isolation. Intense declarations of love are made
over dim firelight. It should feel romantic, passionate, alive.
It doesn't. Why it doesn't is because one of them is spinning
a web of deception for her own amusement and the other is infatuated
with the lie.
Phil eventually becomes overzealous in his attempts to have Mona
find God. He invokes Jesus while attempting to comfort her. In
one bizarre scene the townspeople carry a huge, wooden cross Phil
has constructed to the top of the hill overlooking their valley.
(Again, here the cinematography is quite extraordinary.) Phil
leads them in a prayer meeting at the raising of the cross. In
front of the assembled gathering he prays for his sister who he
feels has lost her way. She responds with indifference.
Tamsin attempts to get close to Phil and nearly succeeds in seducing
him. She laughs at how easily Phil can be tempted away from his
religious morality and into her arms. In retaliation, Phil kidnaps
Mona from Tamsin's house and locks her away in her room until
she repents and finds salvation in the Lord. Mona is fiery in
her resistance. All she can think about is escaping to be with
Tamsin. We're left to wonder, which is actually more destructive:
Phil's obsession with God or Mona's obsession with Tamsin? Both
obsessions seem to be based on a desire to create some kind of
real meaning or direction in their lives. The fact that ultimately
both of their obsessions fail to live up to their expectations
is no surprise.
Parts of the film seemed beautiful in their conception, but other
parts grated on me incessantly. The problems I had lay mainly
in the relationship between the two girls. Adding yet another
psychotic, pseudo-lesbian to a long list doesn't particularly
appeal to me when there are so many better options out there.
Tamsin is an extraordinarily unattractive character who, despite
being externally beautiful, is empty and deceitful to the core.
Mona is taken in because she yearns for any touch that is gentle
and kind in her bitter existence. Tamsin appeared just at the
right moment to fill a gap caused by her mother's death, her boyfriend
dumping her and her brother's religious conversion. It is a relationship
based on need and manipulation, and it feels ugly and wrong. I
couldn't help but wonder, is this director trying to tell us something?
My favourite section of the film was the final reel as the puzzle
unravels. It's impossible to talk about the end except in vague
terms so as not to ruin it. Let's just say Mona develops an inkling
of a spine and reasserts her independence, so we see what her
real personality might be for the first time in the entire film.
Nathalie Press looks really beautiful here as she lets the depths
of Mona's satisfaction shine through. As she walks away (with
a cold, icy stare Tilda Swinton would be proud of) I really believed
in the character for the first time, just in time to see the credits
Any points I give this film would not be for the lesbian content,
but for the feeling of isolation and abandonment it creates. This
effect is in no small part helped along by the look of the film
which deserves major kudos. My Summer of Love
is on the surface an absolutely gorgeous film, but underneath
it feels depressed and hollow, which is, now I think about it,
probably the film's most successful metaphor.
I do feel a bit odd because all of my favourite film reviewers
seem to have loved this film, but I'm afraid the best I can manage
is an appreciation of what the director was trying to accomplish.
I know I loved a film when I feel I would like to spend more time
in the company of the characters. With this film I knew instantly
that I didn't want to spend a moment longer in their company.
Considering my brief here on this site I feel justified somewhat
in "looking lesbian" at this film, but please somebody
tell me, what am I missing here?
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