Most Helpful Customer Reviews
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32 of 32 people found the following review helpful:
5.0 out of 5 stars
Courageous, Intense, Devastating, March 28, 2000
Congratulations to the filmmakers and financiers of this bold film, and also to the Academy for giving it prominence. "Boys Don't Cry" succeeds as a portrait not only of a sexual identity crisis but simply as a portrait of one woman's compassion (Chloe Sevigny) for another human being--it succeeds where "My Own Private Idaho" failed because "Boys" is an aesthetically cohesive work of art. Director Kimberly Pierce is astonishly gifted. Her attention to detail, composition, and her ability to use locations and static objects as metaphors for what is transpiring in the minds and lives her her characters is remarkable. The editing is also another noteworthy feature (although the use of flashbacks in Act III is unnecessary and detracts from one of the film's most powerful scenes). Although Hilary Swank is undeniably amazing, it is the character played by Chloe Sevingny that gives this film its emotional resonance. Her role is not a supporting role but a lead role--in fact she is technically the protagonist (undergoes classic character change)and has nearly as much screen time as Swank. Sevingny's performance is absolutely brilliant. One warning: I walked into this film unaware of how disturbing it would be and was blindsided. This is a gritty, no holds barred film about a sensitive subject. Although I doubt this was Kimberly Pierce's primary intent, the film also stands as a powerful argument in favor of hate crime legislation. There is an emotional plea for tolerance at the core of this movie, and people on the political fence may find that this film moves them in the direction of conceding that hate crimes comprise a separate category.
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57 of 62 people found the following review helpful:
5.0 out of 5 stars
Sometimes they do, October 11, 2004
This movie really made me think about sexual differences and what it means to have a sex change or to want one, or to be trapped in a gender you don't want. It was very effective to have us see Hilary Swank (who plays Brandon Teena/Teena Brandon) with short hair and male facial expressions and gestures without giving us a glimpse of her as Teena. (Actually we did get a brief glimpse in a photo.) Swank looks like a boy, acts like a boy, in fact works hard to be a boy; indeed that is (sadly) part of what this movie is about, what it means to be a boy in middle America as opposed to being a girl. And then when we have the scene with the tampons and the breast wrapping and we see her legs, the effect is startling, an effect possibly lost on those who knew that the person playing Brandon was a woman. It was when I saw her legs and could tell at a glance that she was a woman with a woman's legs that I realized just how subtle, but unmistakable are the anatomical sexual differences, and how convincing Swank's portrayal was.
I was reminded as I watched this of being a young person, of being a teenager and going through all the rituals and rites, unspoken, unplanned, without social sanction, that we all go through to prove our identity, because that is what Brandon was so eager to do, to prove his identity as a boy. I thought, ah such an advantage he has with the girls because he knows what they like and what they want. He can be smooth, and how pretty he looks. It was strange. I actually knew some guys in my youth who had such talent, and the girls did love them.
The direction by Kimberly Peirce is nicely paced and the forebodings of horror to come are sprinkled lightly throughout so that we don't really think about the resolution perhaps until the campfire scene in which John Lotter shows his self-inflicted scars and tosses the knife to Brandon. Then we know for sure that something bad is going to happen.
Hilary Swank is very convincing. Her performance is stunning, and she deserved the Academy Award she won for Best Actress. She is the type of tomboy/girl so beloved of the French cinema, tomboyish, but obvious a girl like, for example, Zouzou as seen in Chloe in the Afternoon (1972) or Elodie Bouchez in the The Dreamlife of Angels (1998), or many others. Indeed, one is even reminded of Juliette Binoche, who of course can play anything, or going way back, Leslie Caron in Gigi (1958). Chloe Signvey, who plays Lana Tisdel, the girl Brandon loves, whom I first saw in Palmetto (1998), where she stole a scene or two from Woody Harrelson and Elisabeth Shue, really comes off ironically as butch to Swank, yet manages a sexy, blue collar girl next door femininity. She also does a great job. Peter Sarsgaard is perfect as John Lotter, trailer trash car thief and homophobic redneck degenerate.
Very disturbing is the ending. If you know the story, you know the ending. Just how true this was to the real life story it is based on is really irrelevant. I knew nothing about the story, but I know that film makers always take license to tell it the way they think it will play best, and so it's best to just experience the film as the film, independent of the real story, which, like all real stories, can never be totally told.
Obviously this is not for the kiddies and comes as close to an "X" rating as any "R" movie you'll ever see. It will
make most viewers uncomfortable, but it is the kind of story that needs to be told.
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49 of 53 people found the following review helpful:
5.0 out of 5 stars
Not Masquerading and Not about sexual orientation, March 4, 2000
This is an excellent film, however the subject is heart wrenching. The film isn't about a girl masquerading as a man or about a confused lesbian. These terms have unfortunately been equated with the film and are inaccurate. Brandon was an FTM, a transgendered person/transexual who was pre-op. The film does deal with Brandon's affirmation of his (yes--editors-HIS)true SELF (read Jung). Chloe Sevigny portrays a young woman who is able to see beyond the physical and into Brandon's true SELF. Unfortuately, 2 disturbed men, who have many issues in themselves, in their limited vision and supposed masculinity are challenged by Brandon's transgenderness. They project their own insecurities out on Brandon--brutally raping and murdering Brandon, a young mother, and an African American (not shown in the film). Warning: this film is emotionally upsetting and demonstrates the issue of violence on many levels--all folks can relate. In many respects, this film ranks on the levels of Schlinder's List and Platoon. Please make sure you see the film with someone so you can talk afterwords. Trust me, I conducted a panel after a showing of the film for an audience of 40-50 individuals. Let the pain in and feel it. It's the only way you can truly understand the film.It's too bad that Kimberly Peirce was not nominated for an Academy Award for her direction. The film is EXCELLENT!
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