Take a story by Neil Gaiman and give John Cameron Mitchell (Rabbit Hole, Hedvig and the Angry Inch) the opportunity to turn it into a movie and you get a sort of punk rock coming-of-age fantasy that starts odd, gets odder, and manages to steal your heart.
Alex Sharp in his first movie (though a Tony winner for The Curious Case of the Dog in the Night Time) nails it. He and his friends, Ethan Lawrence and Abraham Lewis, give us a group of young punks in 1977 Croydon looking for…something in all the wrong places. As most adolescents do. The story is best experienced without any preamble, so I’ll stop there.
The boys are supported by a great cast. Elle Fanning (Leap!), ever her ethereal self, headlines it all and seems to expand on her Neon Demon character. And in support, Nicole Kidman (The Killing of a Sacred Deer), Ruth Wilson (Anna Karenina, Luther), and Matt Lucas (Sherlock Gnomes) each bring their own special brand of uniqueness to the characters.
But it isn’t just about the story and people directly. It is also about the music and movement that was just gaining steam in ’77. Real-life musician Martin Tomlinson leads the fictional Dyschords in a brilliant and believable set of performances to set the mood. As Gaiman put it when he saw it, they feel like a real band from that era you just somehow missed at the time. I’d add, if you ever cared about that era, you’d be sorry you did. And the rest of Nico Muhly and Jamie Stewart’s music is equally effective and engaging.
Entertainment and cleverness aside, Mitchell and co-writer Philippa Goslett took the smallest of seeds from Gaiman’s story of the same name (published as part of his Fragile Things collection) and grew it into a wondrous and unexpected adventure. It is as if Sing Street tripped into Wonderland, or Across the Universe collided with Velvet Goldmine. And yet none of that is really accurate other than to imply the unexpectedness of it all. Despite all the expansions, it still retains the sense and point of the original piece. Truly a great example of adaptation. However, if you haven’t read the story first I’d read it after. The story will suffer for that, but the movie will probably be improved by protecting some of its uniqueness.
Check this out without finding out more and just let the story take you. Mitchell is wonderful at laying out secret and twisty paths and imbuing his creations with heart, even amid heartbreak. And in this case, with Gaiman’s sensibility to help inform it all, it comes together in delightful ways. This is a universal story, even if the trappings don’t appear so.