This highly problematic rom-com offers a
textbook example of how iffy politics can derail a movie that shouldn’t have
been political in the first place. The story of a gay man and a lesbian
becoming a straight couple, A Different
Story has the unintended effect of marginalizing homosexuality as a phase
some young people pass through on the way to adulthood. To describe that
implication as repulsive is to make a gross understatement. Yet nothing about A Different Story feels didactic or
mean-spirited, so one fears the filmmakers were simply ignorant of the
statement they were making. In some ways, that’s worse than
deliberately belittling an entire class of people. Anyway, it’s not as if
there’s a great movie buried inside A
Different Story, and that all one need do is detach from political
correctness long enough to enjoy the story. Even setting aside its treatment of
human sexuality, A Different Story is
mediocre at best. The characterizations are clichéd and superficial; the
storytelling is choppy, with some scenes drifting off into nothing; and the plot
is as hackneyed as bad episode of a sitcom. After kept boy Albert (Perry King)
gets dumped by his wealthy lover, his casual friend Stella (Meg Foster) says he
can crash on her couch. He cooks fancy meals and tidies the place, so she
extends her hospitality. Discovering that Albert has immigration issues (he’s a
Belgian national), Stella suggests a green-card marriage. They wed. Later, they
sleep together, thinking it a one-time event until Stella learns she’s
pregnant. She dumps her on-again/off-again girlfriend, and then Albert and
Stella fall into the bickering rhythms of a generic movie marriage. He spends
too much time at the office! She’s stuck at home all day with the baby! Yawn.
Foster and King render professional but undistinguished work, while director
Paul Aaron orchestrates the whole middling affair in similarly bland fashion.
It’s all so enervated and false that the only quirky thing in the picture is a
sidecar motorcycle.
A
Different Story: LAME
1 comment:
The movie that killed Perry King's big screen career.
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