Match, 2014.
Directed by Stephen Belber.
Starring Patrick Stewart, Carla Gugino and Matthew Lillard.
SYNOPSIS:
When a married couple called Mike (Matthew Lillard) and Lisa (Carla Gugino) ask Toby (Patrick Stewart) for an interview about the heyday of 1960’s dancing in NYC, the ex-performer is initially happy to relive his glory days and escape the boredom of his bachelor lifestyle. However, as Mike’s questions become more and more invasive, social boundaries are pushed to the breaking point, causing painful secrets to surface.
Space Captain, telepathic mutant, Juilliard dance teacher? Stephen Belber’s adaptation of the Tony nominated play Match slipped under the radar upon its initial release… presumably because audiences weren’t used to seeing Patrick Stewart teach dancers instead of mutants. It’s been a long time since the stage trained actor took on a dramatic role that truly showcases his talents away from the spotlight of Hollywood blockbusters, so there’s a lot to recommend here for fans of indie cinema and Stewart alike.
On the surface, a story of a gay ex-dancer living in New York City doesn’t exactly scream for subtlety and in the hands of another, Toby’s character could have come across as tacky, yet Stewart’s performance is remarkable from the outset. Moments of pathos and bravado are all conveyed with equal authenticity and one liners about sex that could have been caricatured are delivered with genuine intent. One particularly funny discussion about cunnilingus fits perfectly alongside more intense moments shared between Toby and the married couple who enter his home.
As an angry cop looking for answers, Lillard is worlds away from the characters he portrayed in the Scream and Scooby-Doo franchises. Mike’s invasive questioning echoes Haneke’s Funny Games at times, pushing social norms to their absolute extreme before eventually reaching an explosive climax at the end of the first act. Up to that point, Match is an engrossing character study which gives each of the three main performers space to show off their talents, including an always impressive Carla Gugino.
Unfortunately, the tension of the interview gives way to sentimentality as the central trio each work through the issues raised in the first act. This is where the problem with theatrical adaptations comes into play. It’s often hard to justify a cinematic version of plays like Match, as conventions that work beautifully on stage can fall flat on the big screen. For every Deep Blue Sea or Frost/Nixon, there’s a hundred Chelsea Walls or Spinning Into Butter’s.
The majority of movie plots can be divided into three acts the same as any traditional play, but the segue between each feels obvious and clunky here. Director Belber also fails to make use of the larger world he now has to play around in, still keeping the vast majority of the film confined to Toby’s home. Aside from widening his potential audience, it’s hard to see why exactly Belber chose to adapt his own play for the silver screen.
However, none of this should detract from the material itself, as the interplay between Toby, Mike and Lisa is still ultimately engrossing to watch, regardless of how it’s presented. The universal themes explored in Match make this a film worth watching and yet while Lillard and Gugino are equally impressive at points, neither are ultimately a ‘match’ for Stewart, who reminds us exactly why his star still shines so brightly at an age where others would have long considered retirement.
Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★ ★
David Opie
https://www.youtube.com/watch?list=PL18yMRIfoszEaHYNDTy5C-cH9Oa2gN5ng&v=qvTY7eXXIMg
