‘Youth in Revolt’ is esoteric, raunchy, hormonal and Peter likes it

 

Editor’s note: Peter Lewis has agreed to use whatever it is you call his writing style to provide some measure of analysis to those folks who still go to a theater to see a movie. Enjoy.

review by Peter Lewis

“Youth in Revolt” is like Juno in awkward reverse. It revolves around a precociously intelligent 16 year old male, Nick Twisp, striving to lose his virginity.

To be certain, the film has its share of raunchy, sex-crazed humor that can be found in other adolescent virginity-quests. But with esoteric film references and rampant francophilia, it is far from the standard hormonal teen garbage plastered across theaters.

Nick Twisp is played by Michael Cera. While the casting of this awkward extraordinaire was rather obvious, he nailed the part. With his roles in the riotously funny “Superbad” and the tragically unappreciated “Arrested Development” — not to mention “Juno,” “Nick & Norah’s Infinite Playlist” — he has created a sort of niche industry for himself as a gangly, but nerdishly endearing youth.

While “vacationing” with his mother and her bearishly uncouth trucker boyfriend (Zach Galifinakis), Twisp meets Sheeni (newcomer, Portia Doubleday), the beautiful genius of the trailer park lake community. What is born out of this meeting is much less a romance as it is a quest. After mere days, Nick is forced to return home with his rather makeshift family. To fix his separation from Sheeni, Twisp settles on a rogue path of outlandish behavior that will (implausibly) send him back to his “love.”

Though he is held back by both his unfortunate name and his penchant for maladroit behavior, Nick is equipped with a subtly searing cynicism. It is this slice of his personality that allows him to emerge from his gawky shell and become Francois Dillinger, outlaw and lover.

What follows from this psychological split is a engaging and funny film rooted in precocious maturity and intelligence. Whether it is Nick’s anachronistic love for Ol’ Blue Eyes or Sheeni slyly displaying her superior knowledge of Japanese cinema, this above average duo is cast in clear contrast to their surroundings. And it is this sort of disconnectedly mature behavior that was so reminiscent of the aforementioned “Juno.”

However, where “Juno” was dogged by its unrealistic dialogue, overly mature sarcasm, and generally implausible cynicism, “Youth in Revolt” soars. The film admirably atones for its lack of both logic and reality with first class laughs and inspired dialogue. To be fair, I understand it is a bit hypocritical to laud this film for its somewhat out of place conversational maturity. But where” Juno” was affecting a twisted reality as genuine, “Youth in Revolt” is pleasantly rooted in whimsy. It is much easier to forgive a sin that proudly displays itself than one hiding silently in the corner.

It wasn’t until a certain kissing scene that I realized the film was a throwback. Sure, it’s a bit racier than something like “Adam’s Rib” or “The Awful Truth,” but it is an homage to a different era. With Michael Cera as an endearingly jumbled Cary Grant and the classically gorgeous Portia Doubleday as Irene Dunne, the film is part screwball, part romance.

What was so captivating about this film was its portrayal of romance. Doubleday holds herself throughout the film with a coy intelligence that ratchets up both the improbability of the events and the viewers endearment to Nick’s quest. When the lead characters do find themselves together without the exterior disturbances that had previously bewitched them, the passion is handled quietly. Often, it seems that any cinematic act of physicality must be one of unbridled desire. Through a simulated melange of rapid images, we are broadsided with frenzied intensity. This sort of over the top theatricality if off putting and unrealistic.

As events instigated by his alter-ego finally catch up to him, Nick passionately kisses Sheeni before leaving. During this loving embrace, the camera freezes. For whole seconds the pair seem to shimmer on the screen, like a new Rick and Ilsa parting in “Casablanca.”

Just like Casablanca, a forced or frenzied desire wasn’t necessary. The kiss could stand on its own. Within it there are multitudes of possibility and passion. Sexiness is not needed to make it believable. The eager act itself is believable. It was rather refreshing to experience a director who understands the innocent purity of a kiss. And just like the kiss itself, this unabashed ode to classic cinema shimmers brightly. It was a heart warming and hilarious pleasure to behold.

• Youth in Revolt is playing at the Carmike 14 and the Malco Cinema 12 in Fort Smith, and the Malco Van Buren Cinema. Link here for time and ticket info.

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