Monday, April 29, 2013

I *should* hate The Perks of Being a Wallflower, but I loved it. Why?

I finally saw The Perks of Being a Wallflower this past weekend and came away very impressed by it.  It's a very moving coming-of-age story about a high school freshman named Charlie who feels out of place in his new school and ends up being befriended by some seniors who are also on the the fringes of their social group.  Emma Watson plays the dream girl whom Charlie falls hard for, even as he's too timid to approach her as anything other than a friend.  Charlie's other friends include a gay outsider struggling with the fact that the jock he's hooking up with is in the closet and won't acknowledge him publicly.

I've never read the book (written by Stephen Chbosky, who also wrote and directed the film), so I went in completely fresh, beyond knowing what little had been shown in the trailers.  One of the more remarkable things about this film is how we are immediately drawn into Charlie and his angst. From frame one - this is a film that just GETS IT.  Voiceover is used to take us inside Charlie's head, but it never feels like an expositional cheat.  It's never intrusive either.  More often it's used as a transitional device and is only sparingly used to underscore scenes.

About halfway through, I realized something - this script was chock-full of little devices that I usually hate in these indie films.  A quick accounting:

- voiceover.
- a female object of desire who hews close to both the "emotionally damaged" dreamgirl and the manic pixie dream girl types.
- an exploration of how hard it is to be a gay teen.
- character dealing with suicide of a friend.
- character dealing with being sexually abused.
- an exploration of the social intricacies of high school hierarchy.
- a soundtrack that can easily be mistaken for a mixtape.
- characters bonding over music that they assure the other will "change your life."

For the last day or so, I've been trying to figure out how this film does things so right that it avoids the pitfalls.  Frankly, I fear it's like the old saw about how examining a joke is like dissecting a frog; you can't do so without killing it.  Still, I feel obligated to dive a little deeper, just to see what can be learned here.

I'm not saying that the above elements are always bad - but they DO have a tendency to be mishandled and often are cliched in indie films.  Garden State hits most of those boxes and I despise the film for being the sort of quintessential self-indulgent "filmmaker works through his own emo issues" movie.  And I know it's kinda trendy to hate on Garden State now, but I've been on this bandwagon since I noticed the most substantive thing any one would say about it was "It's such a good soundtrack."

I'm at the right age to have been in love with Natalie Portman for a while and not have it be creepy (she's about a year younger than me), so I should have been over the moon for her in Garden State, right?  It feels like the intent is to make her that quirky girl who makes a man "feel alive again."  And yet, it didn't work for me.  As likable as Portman can be, she never made me believe that girl could really exist.

Emma Watson's Sam is a different story.  It's probably unfair to say she's a textbook Manic Pixie Dream Girl, but she definitely represents an archetype often overused in these indie films.  The difference is that I don't think it's possible to watch Perks and NOT fall a little in love with Sam.  She's fun, she's compassionate, but it doesn't feel like she exists only to further Charlie's story.  The script does a good job of alluding to her history and shading her background in a way that fleshes her out without detracting from the story. 

Better still, the film accomplishes all of this even while limited to just showing us Sam through Charlie's eyes.  Being restricted to what Charlie sees of her somehow provokes us to imagine there's more to her life beyond those fringes.  We never see her alone, so we're left to draw our own conclusions where the film doesn't fill in the blanks.

I think that's the key to the movie's appeal - the emotional identification with Charlie's perspective.  It was funny to me how much I felt like I identified with Charlie as I was watching it even though, upon reflection, our high school experiences were very different.  My school wasn't as cliquey, I had a lot of friends, many of whom I'd known for several years by that point.  Unlike Charlie my home life was relatively undramatic, and so on and so on.

But what this film nails is that everyone feels like an outsider in some way.  If we're lucky, we have that group of people that "gets" us.  Charlie's high school world looks the way that most of ours probably felt.  And the reason the film probably works is that it doesn't beat us over the head with this.  I feel like the films in this genre that go wrong are the ones that try too hard to make sure we get the point.  They're so fixated on making the statement that they deny us the discovery.

And that's it.  We can probably watch this film and remember what it felt like to fall hard for someone who was so close to us, but also unattainably far away at the same time.  One of the film's smartest moves is to not white-wash that into some kind of romantic comedy happy ending where Sam and Charlie realize that they're each other's one true love.  We're given an ending that is satisfying, but also realistic, perhaps even wistful.

Why does this movie work?

Because it makes you feel.

Some films that you don't watch - you experience.

You understand why Charlie falls in love with Sam.  You even see what she loves in him.  You project your own experience on the characters.  That makes it sound like the audience is doing all the work, but it takes skill to write material that can evoke those feelings.

Bravo Stephen Chbosky, and the cast that brought those words to life deserves equal praise.

Do you want your script to resonate like that?  Do you want your words to stand out from the massive stack that every reader goes through each week?

Make me feel.


  1. I respectfully disagree and like "Garden State" . . . I know, not a popular opinion now by any means but I stand by it.

  2. Bitter,

    Don't you be dissin' Queen Amindala, or ol' Anakakin Skywalker will put the hammer down on ya! Eversince Natalie Portman stared in "Black Swan" she can do no wrong. Too cool you're in her age group. IF you ever get the chance to hangout with her assistant, do so. That's one cool gal. Easy on the eyes too, just sayin'... ;)

    Haven't seen "The Perks of Being a Wallflower", but after your astute commentary I think I'll drop on down to Walmart a buy a copy. Up here in Washigton ALL the DVD rental places have gone out of buisness. Anywho, I'm a huge fan of the teen genre, and just wish Hollywood put out more movies for today's teens to help them get a good footing in life: entertain + inspire is that too much to ask?!

  3. Yes, I've adored Perks since I saw it in theaters, and you definitely outline why: it resonates with me, and I think a lot of others on some really fundamental levels. My high school experience was very different as well, and yet I could relate to Charlie, from everything about feeling both "happy and sad and not sure how that could be" and liking others so close but far away.

    One scene that I related especially well with was I guess the climax, with Sam and Patrick away, and Charlie calling his sister in desperation. I've taken that call before, and everything from the heavy silence to the acting and the shots of the empty house captured EXACTLY what goes on in your head in such a situation.

    Steven Chbosky recently came for a Q and A at my school. He seemed like a really great guy, and appeared genuinely happy to discuss his work with us. He joked a few times about how "deep" our questions were, and I think that shows the balance he struck in the book as well. Getting you to think and feel, but not beating you over the head with messages - just realities of growing up.

    And for my part, the movie hit all the right notes with me, and are definitely representative of the types of stories I want to tell (and as well as he did!) Just overall awesome.

  4. I loved PERKS, too. Top-notch acting all around. I think setting it in the past with the nostalgia of mix tapes and musical discoveries being a through line was smart, and risky, but was well-handled. The music formed a connection with the audience without feeling like a cheap ploy. Many times soundtracks are shoved down our throats and initiate a gag reflex, but this was yet another way that the film came off completely genuine and defied expectations.

  5. So cool to read a great review of TPOBAW which I loved; watched it on DVD a few months ago. Emma Watson was perfect: great to see her do well post-Potter!

    Natalie Portman: Black Swan is one of the worst movies I've ever watched and she needs to return her Oscar. I like her in some movies. Zach B. is hard to like and Garden State is a little too cute.

  6. I was recommended the book by a friend of mine when I was in high school, right after it had been first published. While I really enjoyed the book, the cult of personality that surrounded it was a bit too much for me to really be engrossed by it. "Perks" became this unofficial rallying cry for the emo/hipster movement at my school at the time, and I grew tired of even hearing the title for the same reason you were annoyed by people's love for Garden State simply for it's "great soundtrack" (an irk that drove me crazy as well, even though I did enjoy the movie).

    So I was pretty hesitant to even watch "Perks". My fear was that it was going to be a nostalgia-fest for Chbosky much in the same way that the book was. But what I was blown away by was just how much restraint he showed in penning/directing the movie. I don't know the full story behind how he wound up making the film, or why it took ten years from the book's publication to the movie's release, but it was an incredibly powerful film, mainly because Chbosky did pull the reigns back a bit and let the characters just exist on screen.

    It also helped that Logan Lerman played Charlie so perfectly; he just nailed that role, playing Charlie with such a quiet appreciation for being accepted by this group of people who didn't see him for anything other than a genuinely good person.

  7. A question I have is whether you would have liked the script if it had appeared on your desk as a spec by an unknown. I ask this sincerely and with the fullest of respect.

    I check in with the blog once and a while. Plenty of interesting thoughts here.

    But what I wonder is if there might be a problem with people that have read too many scripts or seen too many movies. Everything becomes so "familiar" to them that it becomes virtually impossible for a script or film to please them. Even worse, because of the human tendency to fit things into previously experienced molds, there may be the possibility of misunderstanding a story as the mind fills in the blanks with its own expectations.

    Recently I watched Seven Psychopaths, and it struck me that the writer was expressing a frustration with this phenomena where critics and readers are so determined to find something that does not resemble anything they've seen before that the only things left for the writer are to create absurd plots and characters.

    I once saw a script reader complain about gangsters "having guns", how that was so cliche. What should they be armed with then? Hedge clippers?

    Please don't take this as criticism. On the contrary, I empathize with your situation, with your having read so many scripts, many no doubt awful. I just wonder if the result is that as soon as you encounter something which resembles something familiar, the assumption is that the story is following the same path. You might at times fill in the picture before the story has been given a chance to.

    Just for your consideration! Keep up the good work.