Review of Boy A (2008) by Brian E — 03 Dec 2009

Alienation-themed films could be what made the 1970s so goddamn memorable in American film - 'Easy Rider', 'Last Tango in Paris', 'One Flew Over The Cuckoo's Nest', 'Five Easy Pieces', 'Chinatown', 'Taxi Driver, 'A Woman Under The Influence' - all timeless films declaring focus on isolation, second chances, and unclear futures.

We were graced last year with a British picture 'Boy A', directed by John Crowley. The immediate British alienation-themed film that comes to mind for me is Mike Leigh's 'Naked' - a socio-political dive into the mind of what we consider a villain in the dregs of the urban underbelly.

'Boy A' is nothing like any of the aforementioned films in style, look, and feel - yet deals with the isolation, second chances, and a puzzling future. Jack Burridge is this "Boy A" - put away for ten years of his youth and adolescence for murder at a very young age.

Let out in his early 20's, he is given a chance to get back on his feet with a somewhat new and protected identity, under the roof of a kind-hearted, understanding father-figure named Terry. He is granted a steady job, a social life, and even a shot at dating an exciting woman.

However - none of these attainable desires are protected from instability, as old fears always have a chance of coming back to haunt him. We learn the actual situations of what lead to the tragic childhood crime through a series of flashbacks: Jack is constantly bullied as a child, growing up with a negligent father; He befriends Philip Craig - or "Boy B" - a young foul-mouthed, violently-inclined lad who appears to be what Jack needed in his life: companionship and someone to outweigh his cowardice and encourage him to stand up for himself.

What Jack eventually learns is Philip's disturbing upbringing, involving abuse and molestation - an obvious catalyst for his unsettling behavior. The story sympathizes with Jack from a distance - making damn sure you understand that there's a reason for absurd behavior, yet allows you to question whether or not a second chance is deserved, without completely glorifying our protagonist.

Andrew Garfield's sweet, innocent portrayal of the present-day Jack Burridge messes with your head - it's perhaps the greatest trickery (and perhaps a sympathy tactic relative to a possible sway in the author's personal opinion) of the film.

It's a brilliant deception of character, as every move he makes is that of downright Godliness; it's also that brilliant deception of character that makes this film crush the soul. The film's direction is in beautiful whites and brights - perhaps spotlighting hope; a second chance (artfully akin to last year's 'The Kite Runner').

The camera is intimate when it needs be, while distancing in focus of isolation, with offset focus on negative space. 'Boy A' is sharp realism with a delicate touch.