Perhaps the most remarkable thing about Boy Erased is the amount of faith that writer and director (and supporting actor) Joel Edgerton puts in the material at hand.
Boy Erased is based on a memoir written by Garrard Conley, offering a fictionalised account of the writer’s time in gay conversion therapy in rural conservative America. The film is fiction to the extent that the names have been changed; Garrard Conley becomes Jared Eamons. However, Boy Erased never tries to disguise its influences or to assert ownership of the story. The end of the film includes pictures of the real-life inspirations for various characters, often illustrating how uncanny the film’s casting had been.
Bedfellows.
More than that, perhaps as a nod to the increased self-awareness within these sorts of stories, the film hints at its own fictionalisation. The article and book that Jared decides to write towards the end of Boy Erased is very plainly the basis of the film that audience is watching. There is something intriguing in that, in the way that Boy Erased folds itself into its own narrative. The ending of Boy Erased is rooted in the characters responding to the story that Jared has written of his experiences, a clever and reflexive narrative choice that is consciously (and shrewdly) underplayed.
However, the fact that this is the closest that Boy Erased comes to a subversive or deconstructive moment only underscores the matter-of-factness with which Edgerton’s handled the material. Outside of using the origins of the film to provide the basis for a third-act catharsis within the film, Edgerton takes a very straightforward approach to this story. He never seems particularly interested in bending the narrative out of shape or of heightening particular elements for dramatic tension.
Syke out.
In its own weird way, Boy Erased feels decidedly conservative for a contemporary awards film. It is much less energised or dynamic than other similar works, such as the addiction drama Beautiful Boy starring Lucas Hedges’ Lady Bird co-star Timothée Chalamet. This creative restraint is not a criticism in any way; quite the opposite. Edgerton trusts the story that he has been given, and trusts his cast to deliver. Boy Erased is not a showy or ostentatious piece of work, instead a film constructed to specification with care and craft.
Boy Erased is a film that exists primarily as a vehicle for its subject and for its cast, and that is a credit to Edgerton’s approach to the material.
They said that he needed this, but it couldn’t be father from the truth.
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Filed under: Non-Review Reviews | Tagged: boy erased, capitalism, conversion therapy, faith, film, gay conversion therapy, god, Joel Edgerton, Movie, non-review review, religion, review | Leave a comment »
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