THE PERKS OF BEING A WALLFLOWER
US, 2012, 103 minutes, Colour.
Logan Lerman, Emma Watson, Ezra Miller, Mae Whitman, Nina Dobrev, Johnny Simmons, Dylan Mc Dermott, Paul Rudd, Joan Cusack.
Directed by Stephen Chbosky.
This is one of those films where it is important to wait until the very end to decide whether you like the film or not. Quite a lot is revealed in the last twenty minutes which makes quite a difference to understanding the central character.
And the central character is Charlie, a high school teenager, who is clever but depressed and low in self-affirmation. Logan Lerman gives a sensitive performance which draws sympathy but is still mysterious until the ending. In the background is his grief at the suicide of a close friend. There are flashbacks to his early childhood and the influence of his aunt who died in a car accident as she went to buy Christmas presents.
Shy, shunned at school, except for some kind encouragement to read and to write by English teacher, Paul Rudd, he meets two eccentric friends, step-brother and sister, who become close and open his eyes to a more bohemian way of life. At home, things are strict, especially with his dominating father who wants him to be more of a man. Charlie has an outlet in writing letters to a fictional friend. In fact, the 1999 novel by Stephen Chbosky who has adapted his novel for the screen, was the series of letters.
In the film, songs from the period become significant.
The real friends are Sam (Emma Watson moving on from the Harry Potter films), with whom Charlie becomes infatuated despite her confused past, and Patrick, who is a closet gay young man in relationship with a very macho student who denounces Patrick. Patrick is played extravagantly but intriguingly by Ezra Miller who was so persuasive and alienating as Kevin in We Need to Talk About Kevin.
This is a portrait of an American family where the public face belies the sadness and confusion behind the scenes. Ultimately, it reveals the realities of mental illness, childhood trauma and the need for serious therapy and a sympathetic psychologist (here played by Joan Cusack) who can empower Charlie to reveal his deep secrets and come to some kind of freedom and hope.
1. The title? Adolescence and coming-of-age? A memoir?
2. 1992, re-creation of the period? Homes, school, church, parties and socials, Hospital?
3. The range of songs, the popular songs of the period and that just proceeding? Insertion throughout the film is, discussions about the songs? The song for Sam and the tunnel? The final reprise and a symbol of Charlie’s recovery?
4. Charlie’s story, Logan Lerman’s performance, his age, his writing letters to his anonymous correspondent, the outpouring of his feelings in memory, lessening with his meeting his friends and changing? His being creative, imaginative? Relationship with his parents, his sister, his older brother? The Catholic background? The prospect of going to high school?
5. His being in an institution, the effect of his friend’s suicide? His memories of his aunt Helen, the flashbacks, her love for him, the bond, the gifts, his being special, the accident and her death? The surface memories and their effect? The later encounter with Sam, the touch, evoking of memories, the effect, a breakdown? A realisation?
6. His experiences in Middle School, the transition to High School? The first day, his parents and their support, his sister, the discussions?
7. His narrative, being by himself, his room and the style, going to classes, the girls and the reaction? Mr Anderson, Charlie knowing the answers to the questions, Mr Anderson and the books, his reading, his writing? His tribute to Mr Anderson – Mr Anderson and his play, in Pittsburgh, the end and deciding to stay?
8. At school, the bullies, the criticisms? The contrast with Patrick and Sam? Their relationship, shared parent? Family? The manner and style, the revelation of their past, the characters? Their stories, spirit of freedom?
9. Sam, her past and Patrick’s explanation, drinking and sex, but her change of spirit?
10. Patrick, eccentric personality, camp, manner, the gay young man in the 1990s? His freedom, his relationship with Brad, Charlie seeing them, sworn to secrecy? The later exposure, Brad and his self-defence, denouncing Patrick, Charlie and his attack, the melee, his fainting?
11. The small group of friends, Alice, Craig, with Sam and Patrick? His being welcomed to the group? The initial party, his going, the brownie, high, his self-manifestation (and the visual linking of communion with the taking of the brownie)? Being rescued by Sam? The effect on him, some opening up?
12. Craig, the Rocky Horror Show? The others participating, Charlie agreeing, the various performances, his exuberance, the appreciation of the audience, the aftermath for him?
13. Alice and her friends, Buddhist, precocious, interested in Charlie, the Sadie Hawkins Dance and his going, the relationship, his feeling trapped, awkward, the spin the bottle and his declaration about Sam as his true love? Alice and her being hurt, the breaking of the relationship?
14. The tunnel sequence, his exhilaration with Sam, falling in love, the discussion about the kiss, the actual kiss, Sam touching him, the reaction, memories of his aunt?
15. Sam, needing to study, Charlie and the tuition, her gift of the typewriter? Her success and acceptance? Patrick and is going to college? The farewell?
16. Charlie and his collapse, his coming home, his suicidal attitude, his sister concerned? Charlie and his attempted suicide, his parents, going to the hospital?
17. The psychologist, her consideration and concern, the discussions, the memories of his aunt, the psychologist enabling him to be free?
18. Sam and Patrick, the return, talking on their experiences, and in the car, Charlie and the David Bowie song, the exhilaration of his being in the car…?
