Customer Reviews

AKA

5 star:		(7)
4 star:		(3)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

AKA is an Art Film in every sense of the word. The script by Director Duncan Roy is autobiographical and extremely well written. According to the film, Dean Page (in a phenomenally sensitive portrayal by Matthew Leitch who appeared in 'Band of Brothers') is the only child of an abusive father (the abuse includes sexual abuse) and a mother who is a waitress in a classy eatery populated by the upper crust of British society - a class she longs to know intimately. The abuse finally comes to a head and Dean leaves home only to be befriended by a lonely elderly gay man who introduces him to friends who for the first time make Dean feel 'acceptable'. Dean longs to have the privilege and money of the upper class and he sets about to imitate and eventually create a persona as the son of Lady Gryffoyn (Diana Quick in her usual fine stylish performance standard), another person who has befriended him. Assuming the 'role' of Alexander Gryffoyn, Dean uses a credit card to gain meals, clothes, and all the trimmings of a forged identity. He is unable to engage in relationships with either male or female, as his memory of his father's abuse always remains a demon. Eventually he encounters a young lad Benjamin (Peter Youngblood Hills, also from the 'Band of Brothers' cast), is attracted to his way of life, and when Dean moves from London to Paris to keep ahead of the law, he finds Benjamin there with his latest consort David (George Asprey) and the three become a 'triptych'. Eventually Dean's hoax is discovered but not before he has thoroughly lost his ungainly accent, learned the manners and methods of the gentrified British class, and is able to fool everyone but himself. How the fall of this facade plays out is the beauty of the story, and that ending includes many very poignant insights into parenting, into British class systems, and into the subject of sexuality. The cast is uniformly excellent (cameos include a blind 'Uncle" played by Bill Nighy!) and the photography is beautiful. And that is where the Double Pleasure comes in. This film was shot in both full screen single camera focus and in a beautifully realized Triptych form: in the later there are always three film frames of each scene allowing the viewer varied vantages and moments of emphasis that only grow more pertinent as the film's story is known. The story and cast and directing are so strong that I chose to watch the film first in the single screen format to see the story. Then watching it in the Triptych format is ever so much more meaningful. This is not only a very good film, it is an excellent example of how cinema can move bravely into the complete art arena. Highly recommended on every level.

This movie is very well done, exceeding my expectations for it. The core talent is wonderful and the plot line pretty compelling.

Dean, going on 18, has, it's safe to say, a terrible home life. His mother works as a waitress to the elite and fancies herself their friend, so she brings home stories to Dean about her relationships with the rich and powerful. His stepfather is abusive, and not just verbally. Yet when his stepfather orders him out of the house, his mother inexplicably refuses to stand up for him, leading Dean to make his way on his own.

Dean manages to find a job with one of the elite whom his mother serves, granting him access to the inner life of the rich and fabulous. Unfortunately, Dean soon meets with snobbery and elitism and is again booted from the ranks of the rich.

Emboldened by a stranger, Dean makes his way to Paris, where, on a lark, he identifies himself as the son of the very person he used to work for. This opens all kinds of doors for him and grants in the life he always wishes that he had.

Dean's journey is remarkable for a number of reasons. First, the fact that Dean is living a constant lie makes most of his relationships a challenge. As importantly, he must start coming into his own sexual identity, a process made none too easy by his stepfather.

In the end, this story appears to amount to Dean's ongoing attempt to find love, in whatever form it may exist. His home life, unfortunately, has not served as a very positive lesson in what it means to love another person. By the same token, though, his newfound friends and lovers also teach him -- the hard way -- about the meaning of giving yourself to another.

By the time the movie ends, Dean still probably hasn't reached an effective and conclusive resolution to his issues, nor has he completely exorcised his demons. But the journey of his young adulthood is fascinating to watch.

Some extra notes: the "normal" version of this film is the default play on the DVD. However, the movie is truly best experienced watching the triptych version (an ongoing triple split screen). It's a powerful and fascinating style.

One complaint: there are no subtitles on this DVD. Sometimes, when the actors voices were too low, in conjunction with their British accents, I simply couldn't understand what they were saying.

Also, the extended commentary track of the DVD contains and running monologue from Duncan Roy, director and producer, upon whose life the story is loosely based. At times, the commentary is fascinating, just because you come to realize that what Dean goes through in the film is what this man went through himself, to a degree. At the same time, however, many times his comments fail to match up with the action on the screen and so it feels like he's somewhat blathering on apropos of nothing.

All in all, a very well done movie.

AKA is writer/director Duncan Roy's thought-provoking memoir of his own youth. He escaped from a brutal, sexually abusive working-class household by assuming the identity of a young aristocrat and became famous - or notorious, rather - in the process.

Mr. Roy's movie is brilliantly written, directed, and cast. Matthew Leitch is perfect as Dean, the handsome, sweet, innocently seductive young man who desperately wants a better -- or, to be more precise, another -- life. His intelligence, looks, charm, and manner make people want to believe he is who he says. All the actors are notable and entertaining. Two are exceptional: Diana Quick as the prickly patrician Lady Gryffoyn, whose son Dean impersonates; and George Asprey as the striking, urbane, gay aristocrat who takes Dean under his wing. Heir to the Asprey fortune in real life, he was born for the part.

Aside from the fascinating story, imaginative photography done solely with available light, and perfect musical support, AKA is a scathing portrayal of the English class system, where aristocrats rely on certain cues (accent, pronunciation, name, manners, schooling, demeanor) to identify one another and preserve their exclusivity. Dean lives as 'one of them' successfully and happily for over a year. After which he says, quite truthfully (if Mr. Roy's portrait of Alexander Gryffoyn is in any way accurate in its mean-spirited snobbery), that he was a better Lord Gryffoyn than the real one could ever be. Mr. Roy also depicts a working class equally complicit in maintaining 'place' and limited social mobility.

After watching the single screen version, the three-screen triptych version, as it was released theatrically, is an interesting complement which adds dimension to the story. Mr. Roy's commentary track is illuminating politically, and enlightening cinematically. His film is a very personal work of art. The entire ensemble is outstanding, but the talent and beauty of Matthew Leitch form the solid core on which the story rests.

If you are looking for a movie that has a "Cinderella-like" theme and ending (poor mistreated loveable, unhappy working-class waif passes him/herself off as being one of the very rich, powerful and influential which are in turn portrayed as strange, mean and cold-hearted but in reality they are actually very nice with hearts of gold and even though they've been deceived by this waif of a person, they eventually accept the poor little creature in as one of their own with all living happily thereafter) this is NOT the movie for you! Set in the late 1970's, this film is a scathing portrayal of especially the so-called upper crust--be advised that the working class don't come off too well either. This is NOT light entertainment; it is a very challenging movie that will not leave you with a "Walt Disney production type" of warm feeling. Nevertheless, the acting is truly outstanding with Mathew Leitch and Diana Quick giving (to me) Oscar worthy performances. In fact all of the actors, in this film, are outstanding. The characters might not elicit much sympathy; however, they are nothing short of fascinating with the actors being so good at their skill they will have you on the edge of your seat, believe me. But there is a lot more to this film. The sound tract is gorgeous being of music from the era (better pop-music than I can remember from the 1970's). The cinematography is wonderful with the 3-screen format being a challenge but one that is worth taking (a regular single screen format is available and it is wonderful too)-The three screen format allows one to see three settings of the action simultaneously-wonderful! The best way that I can describe it is that it is like being in the center of a room at a party and standing very still (with no one being able too observe you) with you being able to eavesdrop on the goings on from several different angles.

If you are into movies that make you think and feel, buy this film

Based on a true story of Dean Page. The production quality and audio was good. The acting was good and the main players, believable. The story is of Dean who hates his middle class life and sexually abusive Father. Dean wants to be a nobleman so he steals the identity of a nobleman and assumes his life. Sadly Dean can not afford the cost of being rich and not only limits out his credit card but commits credit fraud to keep up the lie. The only negitive thing about the entire film was Dean's English accent is so heavy that on occation it's hard to understand what he said. The film is a good investment. It has a few racey intimate scene's and one frontal nude shot, although quick it may be best for those over 18. Those who have suffered sexual abuse by an authority figure may be very effected by the film.

After seeing this movie, I instantly added it in my TOP 10 favorite movies of all times. If you are NOT into Hollywood junk, you definitely should not miss this one. The 3-screen cinematography is superb, giving you the sensation that you are actually there, but nobody is able to see you or interact with you, just like in the movie Russian Ark. This movie is remarkably well done. It is a MUST see for all of you cineastes out there.

This is a really gay version of "The Talented Mr Ripley", I liked it and would watch it again.

AKA is an interesting film about an interesting story, but I found the movie to be a little overrated. Yes - it's well acted, and considering the subject matter, it's a little over-long, and the sound is so muffled that it's often hard to hear the dialogue. Directed by Duncan Roy, AKA does succeed, however, as a type of modern-version of Vanity Fair turned completely on its head.

Based on a true story and set in England and France in the late 1970s is all about a young man of humble origins who makes his way into an aristocracy that may be not what it once was, yet still adheres as severely as ever to class distinctions. Dean Page (Matthew Leitch) is truly trapped, beset by a stepfather (Geoff Bell) who sexually abuses him and a loving mother Georgie (Lindsey Coulson) so intimidated by her husband that she won't even sign the papers that would allow her son the escape and opportunity a free government college education would provide.

Georgie works as waitress in a posh London restaurant, and tells Dean about all the aristocratic women that as he meets, in particular Lady Francine Gryffoyn (Diana Quick), whom she serves day in and day out. Dean is so enamored by the images of Lady Gryffoyn and in constant fear of his father that he runs away from home and applies for a job with Lady Francine at her art gallery.

Dean is just handsome, reserved, and diffident enough to catch milady's fancy. Beneath an often-nasty veneer, Lady Francine, a divorcée, is a vulnerable woman who snorts coke at gallery openings and knows her peers hate her because she must work for a living

All seems well for Dean until he runs up against Lady Francine's son, Alexander (Blake Ritson), an insufferable snob who jealous of his mother's attentions to him. Dean, however, has briefly crossed paths with a charismatic young American, Benjamin Halim (Peter Youngblood Hills), who tells him that Paris is the place to be.

In Paris, our young disaffected hero poses as David Gryffoyn and uses stolen credit cards to get by and maintain his now wealthy lifestyle. He also meets Benjamin's boyfriend David Glendenning (George Asprey), a rich and handsome British aristocrat who is instantly taken with him. Has he hobnobs with the filthy and decadent rich; he becomes carried away by his assumed identity, while also becoming potentially caught in a dicey triangle with David and Benjamin.

Amidst a sharply observed swath of decadence, involving mostly a lot of drugs, drinking and kinky sex, Roy suggests that with Dean caught between so jagged a rock and so hard a place at the outset of his story, perhaps he had nothing to lose by his imposture even if it is hardly likely to last.

AKA often veers radically from the totally engrossing to the silly. Some of the dialogue is laughable and totally unrealistic, particularly in one scene when Georgie, in an attempt to find her son, visits Lady Gryffoyn in her gallery, and is rebuffed with the comment "don't you people have the Social Services for this sort of thing." One might also wonder whether the English Aristocracy are really as decadent and as useless as this films makes them out to be.

Having said this, AKA is still mostly watchable thanks to the understated performances of both Matthew Leitch and Peter Youngblood Hills. And it is a testament to Leitch's sympathetic portrayal of Dean that we somehow hope that he will get away with this charade unscathed. Roy acutely weaves his social, psychological, and emotional observations into the narrative making AKA a mostly amusing, poignant, and insightful exploration into the enigmas of the British class system.

Indeed, the far more aware and experienced Benjamin, in all his insecurities and changeability, holds up for Dean a mirror that Dean naturally resists peering into at all costs. But it is a mirror that Dean has to look into if he wants to save his soul, find the redemption that he is looking for, and ultimately rediscover his true identity. Mike Leonard September 05.

All he did was give "them" what they wanted and he did it very well. Almost dreamlike in it's flow, this story moves swiftly along touching on situations and all kinds of people along the way, making the situations and people better than they were before he breezed through their lifes. Did he hurt anyone? Only himself. He gave a wonderful, slam-bang of a good time to everyone he came in contact with from the start of this film till the credits roll.

I found this film a complete delight.

For years, I've wanted to see this film, but never bothered to purchase it. One day, I bought it, and WOW! Did I enjoy this film.