@Courtesy of Sundance Institute | photo by Ethan Palme
The ‘90 have been most likely one of the most controversial decades for gay rights in the United States. The optimism and liberalism of the Bill Clinton presidency clashed in many ways with the homophobia still reigning in many parts of the United States, especially far from the urban areas. When in 1993 then the President signed the famous – but maybe it would be better to write infamous – “Don’t Ask, Don’t Tell” law about lifting the banning of homosexuals in the army, he definitely endorsed, inf not established, the atmosphere of suspect and paranoia that damaged so many gay people and communities all over the Country.
The first feature film directed by Carmen Emmi addresses exactly this issue: set in the middle of the Nineties, Plainclothes tells the story of Lucas (Tom Blyth), an undercover cop whose task is to arrest gay men he exposes in a public space. Everything changes for the law enforcer when he meets Andrew (Russell Tovey) and falls in love with him. This feeling, mixed with the necessity to deal with his inner nature, pushes Lucas in a dramatic situation, since he has hidden to his family something that is now becoming impossible to deny.
It doesn’t start really well, Plainclothes: the setting at the beginning lacks specificity, turning quite incomprehensible in the first few minutes. The director uses lo-fi digital footage and unsettling editing that mixes different story timelines in order to immerse the viewer in Lucas’ twisted world. At the beginning of Plainclothes this idea doesn’t really work, it is on the contrary quite confusing. Once a clearer path is established about the main plot and the relationship between the characters, the movie becomes way more linear and consequently interesting.
@Courtesy of Sundance Institute | photo by Ethan Palme
The ongoing relationship between Lucas and Andrew is developed with sincerity and intimacy, while the environment that forces this love-story to be hidden is depicted with the necessary realism. Emmi keeps indulging a little too much in mixing flashbacks with the principal timeline, but in the second part of the movie it pays off when it’s about putting together the protagonist’s narrative arc. The heart and soul of Plainclothes is of course Lucas, portrayed by Tom Blyth with an intensity that explodes inside the character’s mind and soul, forcing him to stand still, paralyzed by the fear of judgment.
The actor delivers an emotional performance that is nothing but admirable, never going too far or over the top even in the most dramatic scenes. Next to him Russell Tovey as Andrew works with grace to the creation of a more mature, experienced, even subtle character. Maria Dizzia also shines in the role of Lucas’ mother, Marie, an kind-hearted woman who is part of a microcosm where prejudice and homophobia rule the everyday life, whether you are aware of it or not.
Plainclothes is a psychological puzzle that benefits from the powerful performance of his main actor. The screenwriter and director Carmen Emmi develops the aesthetic of his first movie through a couple of good ideas, especially in the script, that he sometimes relies too heavily on, creating a sense of confusion that in the first part of the movie doesn’t help the audience to connect with the story.
Once this obstacle has been overcome, Plainclothes proves to be a solid drama which has the courage to address a moment in recent American history that probably should not be that celebrated. Carmen Emmi proves to be an interesting new voice inside independent cinema, and where he lacks the experience of being able to fully “control” that same voice, nonetheless his message comes out loud and moving. As a first-feature, Plainclothes is quite a remarkable achievement.
Rate: B-
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