Five hours, from the
time it was raining after a Little League game until he woke up in the
cellar of his home with a bloody nose, are a blank to eight-year old Brian
(George Webster). In Gregg Araki's powerful drama, Mysterious Skin,
Brian accounts for his missing time by confabulating it with stories of
alien abductions and sets out on a path to uncover long suppressed memories.
This is not a film about alien abductions, however, but about inappropriate
sexual seduction of children and its deleterious effect on their development.
While it is often graphic and difficult to watch, it is a sensitive film,
held together by authentic and heartfelt performances by Joseph-Gordon
Levitt as Neil and Brady Corbet as Brian that allow us to connect with
their open wounds.
Based on a 1996 novel
of the same name by Scott Heim, Mysterious Skin opens as Brian and
Neil (Chase Ellison) are on the same baseball team in their hometown of
Hutchinson, Kansas. Neil is the star athlete on the team, while Brian is
not as good, a fact repeatedly pointed out to him by his father (Chris
Mulkey) who later abandons the family. Neil is the son of a single mom
(Elizabeth Shue) who is more attentive to her many boy friends than to
Neil. Although only about ten, he feels that he's gay and is flattered
when the coach (Bill Sage) takes an interest in him and brings him to his
house to introduce him to snacks, video games, and sexual activity.
The film then moves ahead
ten years to reveal two boys who have gone in different directions. Neil
has become a male hustler who prefers older men and has found a niche in
the town park that is available to prostitution. Though he seems to be
to searching to recover the special loving feeling that he felt with his
baseball coach, this proves elusive and he goes from one unloving john
to another (typically depicted as old, fat, ugly, wealthy, or twisted).
His friend Wendy (Michelle Trachtenberg) describes Neil to his gay friend
Eric (Jeff Licon) as a person with a black hole for a heart. To find more
edgy experiences, Neil follows Wendy to New York but all he finds is more
of the same and a lot edgier.
Brian, on the other hand,
has become a deeply introverted teenager who accounts for his memory loss
by assigning it to a UFO-related abduction, though he has none of the other
common signs of alien abduction and is without physical evidence to prove
it. He watches a television program about alien abductions and decides
to meet one of the abductees on the program, a young woman named Avalyn
(Mary Lynn Rajskub) with whom he visits and shares the dreams he has recorded
in his notebook. Brian tells her of a dream he has had about a young boy
on his baseball team and she encourages him to find out the boy's identity
to shed some light on the missing time incident. When the young woman tries
to seduce him, however, he recoils in horror. Eventually, Brian discovers
Neil's identity by researching the team history at the library and the
final sequence in the coach's empty house when Neil and Brian meet at Christmastime
is memorable for its tender beauty.
Mysterious Skin
is an honest and compelling film in which there are no good guys and bad
guys, just flawed people who act out their deep-seated needs in a harmful
sexual way. Although Araki doesn't stand in judgment of his characters
or their behaviour, the results of their actions are unmistakable. Although
we watch Neil engage in self-destructive behavior, the performance of Joseph
Gordon-Levitt is so revealing that we root for him in spite of reluctantly
noticing the open pit into which he is falling. The only false note in
the film is the implication that "screen" memories masking the repression
of sexual abuse are an explanation of alien abductions. According to David
Jacobs (Secret Life, 1992), of the thousands of accounts of UFO-related
abductions no screen memories have ever been stripped away to reveal a
past history of abuse. This is only a minor flaw, however, in one of the
best films of the year.
GRADE: A-
Howard
Schumann