Lean on Pete (2018)
★★★★ / ★★★★
Although the plot involves a fifteen-year-old boy deciding to rescue the titular racehorse from being put down because it is no longer deemed profitable by its owner (Steve Buscemi), it is not what the movie is about. It is about a young person without an anchor, without a home, and little hope for the future. The horse, I think, is a metaphor for his willingness to fight and take his life toward a direction that makes sense—even if the road required to get there may not make a whole lot of sense to us. I found it achingly beautiful, poetic, and moving.
“Lean on Pete” is based on the novel by Willy Vlautin—and it shows. Notice that nearly every single adult Charley (Charlie Plummer—perfect for the role) knows or comes across has been chewed up and spit out by life, from his own father (Travis Fimmel) who pays more attention to wooing women than ensuring the well-being of his son, a female jockey (Chloë Sevigny) who has had her share of broken bones but cannot seem to care deeply about the horses she rides, to the pair of young soldiers (Lewis Pullman, Justin Rain) who just returned from the Middle East. A humanist writer-director, Andrew Haigh underscores the loneliness and sadness that these characters attempt to cover up. So even when someone makes a cruel decision, we do not hate them for it. It can be interpreted that their actions are based upon what life has taught them.
And then we look at Charley—quiet, hardworking, smart, and not yet hardened by life despite the near poverty of his household. We suspect what might be in store for him, the challenges he will face once he takes the horse in the truck and drives to nowhere. Particularly impressive is how the second half rests on Plummer’s shoulders and there is not a moment that rings false. It is interesting how the writer-director keeps sentimentality at bay, often choosing to highlight the boy’s inner fire, his ability to push through even when he must sacrifice a bit of his innocence just so he can take one more step toward his destination, than the tough circumstances that plague his journey. Lesser filmmakers may likely have opted for tear-jerker moments.
I read somewhere that the movie is not for children—which surprised and frustrated me. I cannot disagree more; it is exactly the kind of movie, I think, that children will connect with, especially because they will have questions. But the questions, I think, will not be about plot points but why certain things are happening, why there is death, why children are neglected or abandoned by their parents. These are tough questions. I believe that those who think that the movie is not for kids are people who are not ready to face and answer the challenging questions for someone else. We often underestimate what children can process.
“Lean on Pete” is a story of a boy who does not have a home. He looks to the people around him: his father, a horse trainer, a jockey; to the gentle animal considered to be old and useless; to the strangers capable of both kindness and inhumanity. They offer no home. He even looks inside himself and finds nothing still. And so he forges on, looking to the past to see if remnants of comfort remain. As the minutes trickle away, we look at Charley, desperately hoping he’ll be all right somehow even if he doesn’t find what he’s looking for.
★★ / ★★★★
Russ (Tom Cullen) was a gay man with mostly straight friends. After attending his best friend’s party, Russ decided to go to a gay club with hopes of hooking up with a stranger. After attempting to make eye contact with several men as a signal he was willing, Russ eventually encountered Glen (Chris New). Morning came and the two engaged in their first real conversation over coffee. They liked each other enough and thought what they had was worth exploring. But, initially without Russ’ knowledge, Glen was supposed to head to Oregon after the weekend and live there for two years to study art. They now had to make a decision whether their one night stand was viable enough to turn into a relationship. Written and directed by Andrew Haigh, “Weekend” could easily, even understandably, appeal to those craving for realistic stories about gay lifestyles. There’s just not that many of them. Great ones are rarer still. The casting was good given that neither looked like a chiseled Adonis. In fact, their appeal was in embedded in the ordinariness of their looks. In return, we were forced to look within–their personalities, motivations, and perception of the world. Given that neither looked like a steroid-obsessed, stereotypically dominant beefcake or a stick-skinny twink, the sex scenes, mostly unnecessary, held a certain honesty: the unshaven corners, fat hanging about the torso, and wrinkles unhidden by make-up. Having the camera so up close to their bodies and faces, we could easily get the sense that the two had just had sex. Like in reality, the morning after is usually far from glamorous. Most of the time, you just want to jump in the shower to wash the night away. However, despite my best efforts, I felt no spark between Russ and Glen. It was critical because they were supposed to be increasingly attracted to one another over the course of the film. The reasons why they wanted to take their relationship on another level weren’t at all clear. Glen was condescending to Russ. He was repulsed by the fact that Russ didn’t like to kiss or hold hands in public as heterosexual couples generously often do. Because of this, he was convinced that Russ was not comfortable with being a homosexual. I was extremely annoyed with what he represented because he felt it was his prerogative as an out and proud gay man to constantly remind people that he was gay. To him, being ostentatiously gay was tantamount to being comfortable with his sexuality. No, it’s not. It means you’re being obnoxious. In the end, Russ subtly accepts that ideology. The supposedly sweet ending left a bitter taste on my lips. It sends the wrong message to audiences, especially to LGBT youths who are still deciding how they want to live their lives. Furthermore, the constant usage of drugs was an issue I had due to its mixed messages. I found it ironic that the two men were supposed to be connecting with one another through sex and deep conversation while snorting cocaine and smoking marijuana. How can you really get to know someone while being under the influence? All the discordant factors and hypocritical implications made me feel angry. While I understood Russ’ loneliness and the dangerous lengths he would go to assuage that emotion, the rest lacked practicality. It’s a shame because I do have friends like Russ who engage in casual sex with strangers and experiment with all sorts of drugs. The film implies that such a lifestyle is A-OK. It’s certainly not okay when you hear news that your friend has contracted HIV or died from overdose.