by
Douglas Messerli
Madison Hatfield and Jono Mitchell (screenplay),
Jono Mitchell (director) Making a Scene / 2023
Sammy (Mack Bayda) is
what you might describe as “all in a sweat.” The cutest junior in his school,
Ryan Riddle (Johnathon Grogan), who has signed up for the drama class only
because the
Sammy
argues that, in fact, it still a “riddle” about Ryan’s sexuality. With others
he seems totally straight, but alone…. His mother immediately wants to put him
to a test, but Sammy is determined just to “access the vibes.”
We
can only wish him good luck, as Ryan pulls up in the driveway, the two of them
starring out of the widow at him. Getting up to open the door, Sammy tells his
mother to act normal, as the camera pans to show her with straws in her nose.
She is not a subtle woman.
Thunder
can be heard, which Sammy comments is highly appropriate given they about read
from The Tempest. Before the poor boy even gets into the house, she
has insisted he call her Carol and has wound her arm around his shoulder.
“You’re welcome here. This is an open and safe house where you can be
completely yourself.” In her first test, she accidently tosses out a wrapped
condom, claiming when Ryan picks it up, that it’s hers, she being a middle-aged
sexually active divorcee.
Embarrassed,
Sammy hurries Ryan to his bedroom and closes the door, suggesting he sit in the
chair beside his desk only to discover that his mother has removed all the
room’s chairs so that they will be forced to the bed. Nonetheless, they begin
to read their lines, Sammy a little self-conscious about being cast as the
“fairy”—“A little on the nose, don’t you think?”
Her
son takes her out of the room, arguing with her in front of the door, in a
rather loud voice, that she should go away, as she wonders aloud (quite loudly)
“Is he gay?” The conversation, a rather crude one, can be heard by Ryan as he
soon reports, opening the door to say, “You’re like…not whispering.”
Understandably, Ryan wants to know what they are trying to do with
putting him on the bed, tossing out a condom, etc. Sammy explains, it was all
his mother, Ryan attempting to comprehend, “What?” “She was trying to help…”
“Help you what…?” “To find out if you were gay.”
Ryan,
already on his way, is startled, turning back to ask, “And then have sex with
me?”
“No!”
“Then
why do you want to know so bad?” he screams as moves toward front door.
Before he leaves, he turns, complimenting Sammy as being the best
actor in class, praising his generosity, his help of others, etc., while
admitting that it’s all difficult for him. But he was glad to paired with
Sammy, he admits.
To
Sammy’s final plea, “Are you gay Ryan,” the boy simply answers, “I don’t know,”
as he leaves the house.
The
minute he leaves, Sammy proclaims he just wants somebody else…presumably just
another gay person to be able to talk to. His mother suggests he tell him that.
He opens the door to find Ryan still there, shoeless, since he has been
asked to take off his shoes as he entered the house. Ryan’s response: “You guys
just can’t not talk loud.”
But
now, quite inexplicably, he speaks of the play itself: “You know what I like
about this play. The whole time Prospero seems to have it together. Ya know, he
has this whole plan. Then comes the speech:
Our
revels now are ended. These our actors,
As
I foretold you, were all spirits, and
Are
melted into air, into thin air;
And,
like the baseless fabric of this vision,
The
cloud-capped towers, the gorgeous palaces,
The
solemn temples, the great globe itself,
Yea,
all which it inherit, shall dissolve;
And,
like this insubstantial pageant faded,
Leave
not a rack behind. We are such stuff
As
dreams are made on, and our little life
Is
rounded with a sleep.
Thunder strikes again, and it begins to rain. Ryan moves toward Sammy for a kiss as the end credits swallow up the screen.
It’s
a moving end to a very frustrating and noisy short movie. The problem with Jono
Mitchell’s Making a Scene, despite its outrageously funny and silly
intrusive female wishing only the best for her son, is that not one of the
characters truly seems believable. All seem to be acting out a script that
isn’t that remarkably engaging, and which in the end just presents Sammy and
his mother as loud and intrusive human beings who force a young shy actor to
speak lines he would never truly utter.
Even
I, who loves all the drama of human life and the exaggerations that some of my
friends make of it, would have fled Sammy and Carol’s house—if nothing else because
of the theatrical aggression with which they pretend to face their own doubts.
These are not the signs of normal human beings. Surely, I would not have stayed
around for a final kiss, knowing that the whole town would very soon hear about
it and everything else than might have transpired during m visit.
Los Angeles, February
16, 2023
Reprinted from World
Cinema Review (February 2023)
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