In 1973, when Frank Bledsoe and his 18-year-old niece Beth take a road trip from Manhattan to Creekville, South Carolina for the family patriarch’s funeral, they’re unexpectedly joined by Frank’s lover Walid.
Set in 1970’s South Carolina, Beth Bledsoe (Sophia Lillis) is in the kitchen helping her aunts and mother get ready for Daddy Mac’s birthday (Stephen Root). Mac is the patriarch of the big family and he’s upset over his rambunctious grandchildren and his son Mike’s (Steve Zahn) incapability to dole out corporal punishment. The house has a beautiful layout with a large wraparound porch that seems perfect for summer nights. Frank (Paul Bettany) is sitting on the porch and his niece Beth is thrilled to see him. He’s a professor in NYC and understandably looks uncomfortable being around his conservative family. While Daddy Mac is going through his presents like a petulant boy he chastises Frank’s gift. The gift is an electric shoe polisher and he oddly prefers Mike’s present, a cheap eyeglass repair kit.
Most conversations are chock-full-of exposition and southern fried stereotypes while the talented cast hams their way through it. Even legendary character actors like Margo Martindale, Judy Greer, and Stephen Root, are unbelievable when reciting the cringe-worthy dialogue.
Next, Beth leaves South Carolina to visit Frank in Greenwich Village. I was looking forward to seeing Manhattan dressed up for the 1970s but the production design is a letdown. Keeping up with heterosexual appearances, Frank introduces his fake girlfriend until his actual partner arrives after dinner. His partner, Walid (Peter Macdissi), is particularly insufferable and isn’t interesting. Of course, the family deals with Frank’s alternative lifestyle in the most generic way possible. Some family members scornfully reply “you’re goin’ ta Hell” and others are like “take me shopping sweetie.”
The poor writing is by writer/director Alan Ball, creator of “Six Feet Under” and the extremely campy “True Blood.” While the former show had some incredible episodes, Ball has proven to be incapable of subtle writing. His screenplay feels rushed and it must’ve been written thirty years ago. Today in 2020, there are plenty of marginalized groups to focus on and the story perpetuates the false notion that oppression only happens in our Southern states. With an inconsistent tone, he attempts to make a southern gothic tragedy with some humor, and it doesn’t work. Ball doesn’t fare too well in the directing department either, his shots are poorly framed and the actors seem like they were given different cues in most scenes.
I read Alan Ball grew up in Marietta, Georgia, and I can’t stand filmmakers processing their past grievances by making a feature about it. I can imagine there might be a few exceptions but in general, it’s almost offensive that some directors think their history is entertaining enough for us all to consume. I’m surprised everyone in the cast signed up but I bet his brand name still holds some weight in Tinseltown. That being said, I think Ball should pass the Hollywood connections to a younger more talented person and save these stories for his therapist.
Available to stream on Amazon Prime Video Wednesday, November 25th
