Posts Tagged “Parker Croft”

2011

March 4, 2011
USA
English
Cinequest 21 World Premiere
Drama / Romance
Conrad Jackson

Elliot Carson = Parker Croft
Chloe Webb = Emilia Zoryan

One of the best pleasant surprises I’ve had in my 14 years at Cinequest.

On paper, this film had every red flag imaginable. Terminal illness, Los Angeles hipsters, a house party, a meet-cute in a Jamba Juice, an internet entrepreneur, and two incredibly adorable young people who spend a single night together. And yet…

Elliot visits his doctor the day before he has brain surgery. The doctor assures him that he’s optimistic, but we can tell from Elliot’s eyes, that he has no such positive feelings. He wears sunglasses indoors as the light bothers him and on the way home from the doctor’s office, he needs to pull over his car in order to barf. Looking for a bathroom in which to clean himself up, he ends up at an ice cream / smoothie place staffed by an almost supernaturally adorable girl named Chloe. As he walks in, she’s taking photographs of the store’s merchandise. She kindly lets him use the bathroom, he orders an “anything with bananas in it” drink, and they make smalltalk. But realistic smalltalk. Awkward, silence-filled, customer-employee smalltalk. He picks up a card for her photo exhibit that night–”you should come”–and heads back to his sparsely furnished, though expensive looking apartment, where he enjoys a bowl of cereal after closing the shades.

Trying to get his mind off of the next morning’s procedure, he heads down to Chloe’s show, where they exchange names and more conversation. Which leads to dinner, which leads to a houseparty, bike ride, security guards, danger, a hike, some music, and all those other things that can make a first night with someone magical. But eventually, Elliot will have to tell Chloe why he hasn’t eaten or drank anything since midnight, won’t he? And what if she wants to plan something for that weekend?

There are several things to say here, in bullet-point format:

–the cinematographer and director find a way to perfectly capture the dizziness, migraine, and ear-ringing that accompany someone who is about to barf. I can’t recall ever feeling someone’s nausea quite so vividly. The sound quiets, the lights get brighter, and the speed sort of changes. Very well done.

–The young woman who plays Chloe, Emilia Zoryan, looks like an “almost” Minka Kelly from FRIDAY NIGHT LIGHTS. She has these huge, soulful eyes that stare at Elliot, often when he isn’t looking. She is convincing as a normal, LA girl, who works in a store, but longs for great, artistic things.

–The young man is played by Parker Croft, who was one of the writers of the film. He looks like an even-thinner young Roger Daltrey, all angles, and bones, with a big mop of blonde hair on his head. He has this slow-blinking, surfer drawl dialogue delivery that somehow isn’t annoying. Because it sounds like a kid his age. And with his very thin frame and our knowledge of his condition, we can’t help but cheer for him as he tries to experience a memorable night on what might be his last.

–The two leads, while conversing–both initially meeting, and as the topics get deeper–sound perfect together. At the Q & A after the film, it was learned that the crew filmed this over a two week period of nights. And I know that Parker was one of the writers. But something more is happening here. I don’t know if they work-shopped the dialogue or were given a simple framework upon which to improvise around. The two 20ish actors are speaking like two 20ish people who are meeting someone they might end up eventually liking. The honest awkwardness of silences, of jokes that don’t land, of spilling food on a first date–all of it seems real. They don’t finish each others sentences and they mostly don’t have a rapid-fire HIS GIRL FRIDAY thing happening. It just seems more organic. Or else I was just fooled, which is good enough for me.

–The music worked, especially a “concert in a tunnel” where someone’s friend of a friend is performing on guitar and a tiny amp. The crowd looks happy, if a bit too hip and good-looking. The other songs didn’t hit us over the head. There was no “brain tumor theme” for example.

–A new romance causes us to completely lose track of time, and somehow that feeling was communicated in this film. Everything they do could plausibly have taken place during one night. But looking back on memories of perfect nights with perfect people, we never really relay that story perfectly, do we? Maybe the bike ride took four hours and maybe it was just around the block. The important thing was who you were with, not how long it really lasted.

–Capturing blossoming feelings is incredibly difficult on screen. You have to believe in the chemistry of the two people. They have to be realistically right for each other. There has to be something in each of them that would attract the other. All of these things work in this film. Though, due to Elliot’s condition, he needs to hold back his feelings more than Chloe does. I thought that she fell too hard for him too early. Plus, she’s adorable. Why doesn’t she already have something to do that night?

–Another entirely tiny positive thing that no one probably noticed but me. Both members of the couple sustain minor injuries during their night together. Hers is much less conspicuous. But I noticed that the continuity didn’t lapse when I saw her in a later scene. Attention to detail=A.

Lest it sound like it was perfect, let me slow down that impression now.

–The hipster, mostly white-people, young and funny, houseparty birthday “my friends are outrageous” stuff was almost a bit much for me. Almost. A sobbing birthday girl, a cynical bearded friend, a guy with one of those stupid knit hats with the ear flaps, a conversation about grilled cheese, a top-half-clothing-trade. If I wasn’t so invested in the couple’s beginning, I would have hated, hated, hated that group of people. They hike up an LA mountain, where a group of people has cold beer ready and a tree adorned with lights and a couch and deep and shallow conversations abound. I get that this is a real thing that happens, but that doesn’t mean it makes good cinema. When I was their age, my friends and I acted exactly like them. If you are between the ages of 16 and 30, you’ll even love these scenes.

–Both actors were pretty spectacular, especially when compared to their resumes. Parker was a bit stronger than Emilia, but her big eyes go a long way towards helping us forget that. Parker has a big scene that starts with spinning a globe that I never quite bought. I wanted to, but it was too long, too close-up, too monologue-ish. That was the only misstep I could find in his performance.

In conclusion, I’m almost embarrassed by how much I like FALLING OVERNIGHT. I’m a sucker for the falling in like part of cinema relationships (BEFORE SUNRISE remains the gold standard), but the LA location, the age of the participants, the extra “bonus” of a brain tumor, all told me to avoid this film. I’m glad I didn’t.

FALLING OVERNIGHT

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Written by Michael W. Cummins