We are still confined and in Moviegoers Frustrated to ours: a new installment of this Special 80s-based comedy youth under its appearance light, and all the topics of gender, to hide something more. Something to talk about 30 years later.
A week ago we opened section with that Admirer secret 1985: a comedy of youthful american who was very honest (horrible and hackneyed concept to describe anything in the film, but… Inevitable, in this case) and efficient at the times that you had. That brings up something deadly on a server: the call emotional resonance. This is, what it bounces off of any part of the head to the point of maintaining an emotional connection with that film. And considering that they are human beings who made these films is crucial to affirm that nothing is coincidental. Today we are four years later and we crossed the Atlantic to revive a comedy of youthful british, 1989, which, perhaps, is even less known and remembered that the previous. Today we The Rachel Papers or, as called in Spain, Seduce Rachel. Yes, not only changed -to vary – the original intention of the royal title (in which resides the will of the author and such) but the nationality of the girl. Fascinating.
The Rachel Papersas the vast majority of comedies of this type (although we expect surprises in this section) is not of originality in its premise: Charles Highway (Dexter Fletcher, future director end of Bohemian Rhapsody and director of Rocketman) has it all under control. He is young, attractive, happy, intelligent, cultured, and experienced in the art of looking girl to fuck. Until he meets Rachel and starts the wheel as known in the genre of the romantic comedy: you know, everything is going well, have something, that something is broken and he tries to fix the situation. Even with a final scene filled with a rush to catch it before it disappears from your life forever.
But The Rachel Papers it is much more. On both sides of the issue: above, formal, and below, in the background (yes, that emotional resonance). Input it is a film different to the usual ones of the genre because it is produced and filmed in England. Its setting in the London of 1989 is not one more piece of data: that London is not easy to retrieve in the memory. Is subsequent to the London grey of the post-war period but prior to the London rich and multicultural of the 90’s. Keeps the air of the first, but has already emerged as the second. Indeed, it is in this context where the film finds its site: everything is deeply british, from the manners and the cultural idiosyncrasies of Charles, passing through any visual tour London and its surrounding countryside. Until that comes on the scene Rachel, who is american and is visiting. There is a special dent in the cultural contrast, but the presence of Rachel, in the world of Charles, has a point alien.
Because, as always, it all depends on us to believe what they tell us, that resonates in a personal way. Charles is not a perfect type, or even exceeds, a slight analysis of their personality without which we fall fatal: in its eagerness to perfect as ace looking girl to fuck is dedicated to analyze all of your appointments and couples using files and comments stored on your computer (we’re talking 1989 so one must prepare for pure technological archeology there). It is easy to see a behavior cruel and superficial in their treatment of women. To him are almost class projects: studying what you must say, that way, it analyzes what has gone well and what has gone wrong, and tries to give with the keys to victory in sex through study and field work. Until Rachel makes it skip all of that through the air.
Of course: that is where Damian Harris, screenwriter, and director, introduces the genesis of the romantic comedy without falling in the repetition of the form of the same. Charles, consciously and subconsciously, begins a path of humanization, realizing that Rachel is not like the others, or, to put it another way, he falls in love like an idiot. Rachel (Ione Skye) corresponds to Charles, before you all go to hell, of course, but again The Rachel Papers is moved finely by both sides of the premise. The chemistry (oh, again, something so hackneyed and exploited…) between both actors and characters is lethal, credible, and feeling-in any way pleasant- voyeristica contemplate that first great relationship that so many people experience with a person who believes very special becomes the great experience of the film.
The Rachel Papers not to pisa, as we have said, the ground normal, and it does-from his initial scene: a halo elegant, intellectually curious and almost etherealdominates the whole film. Charles is addressed to the spectator, using resources such as the voice-over or talking directly to camera. The breaking of the fourth wall is not only a narrative but a vehicle for the complicity with the viewer. And the execution is sometimes delicious: Charles, aware that we are there, he breaks the fourth wall directly when he is alone, however, does so in a way that is subtle and sneaky when he is with Rachel. Some gestures recall very explicitly to that same resource used by Phoebe Waller Bridge in Fleabag. I do not know if she is a fan of this film but, honestly, do not discard it at all.
The substance comic is not abandoned throughout the film, of course, in particular through the baffling and funny boyfriend of the sister of Charles: a Jonathan Pryce (Game of Thrones) absolutely unfettered. Not to mention the couple initial of Rachel played by James Spader.
Oh, of course, is something else: whatochentea a lot of The Rachel Papers? Of course: there is not only pop music, but a soundtrack to own Chaz Jankel and David Storrsabsolutely delicious, based on keyboards and synthesizers that lead you to other part. Nor limps on at times audio-visual very suggestive. And yes, this film media ends up with the classic chase, but at the same time it has an epilogue precious, absolutely precious, mature and unexpectedly satisfying as a conclusion far removed from the usual dose of sugar. This film is a small delight.
Special 80s: Admirer secret (1985)