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This is the Review That Tells You Why ‘Me and Earl and the Dying Girl’ is a Cinephile’s Dream Come True

Why "Me and Earl and the Dying Girl" is a Cinephile's Dream Come True

This
is the part where this writer attempts to eloquently describe his stirring
experience with a film that redefined his notion of what a coming-of-age story
could be. There is a boy, a girl, a sidekick, high school politics, and many of
the adolescent insecurities and yearnings that come with the territory, but
what’s unexpectedly striking are the stylistic and dramatic sensibilities with
which these ingredients are manipulated to assemble a transcendent reinvention.
Laughter and tears flow in a continuum of brilliantly executed emotional turns
that are hard to shake off even months after the first viewing.

Behind
Me and Earl and the Dying Girl”  are inspired debutant author Jesse Andrews, who penned both the original novel and its screen version, and
director Alfonso Gomez-Rejon – whose bulk of work prior to this project was in television and as a
second unit director. Their tonally nuanced and
visually inventive collaboration resulted in a fascinating work that’s nothing
short of a cinephile’s dream come true. Surely one of the year’s best films and
by far the best young-adult fiction adaption of the decade. This tragicomedy invokes
tropes from a familiar realm and deconstructs or tailors them to the uniquely
poignant circumstances of it’s characters.

Awkwardly
concerned with superficially knowing everyone at school but not truly knowing
anyone at all, Greg (Thomas Mann) is a 17-year-old high school senior that has
mastered the art of blending in and avoiding developing meaningful
relationships that could compromise his wallflower status. He is equally
self-deprecating about his talents and his appearance, but efficiently
conceals this uneasiness beneath witty remarks and his acerbic sense of humor.

Overcoming
a stint of raunchy comedies and other forgettable endeavors, Mann ultimately
gets a shot at a richly layered role that demanded a camouflaged vulnerability, which eventually becomes visible as his defense mechanisms give in to intimacy.

Using
Andrew’s hometown of Pittsburgh, and more specifically the house he grew up
in and the high school he attended, as principal locations in Greg’s life, the director creates even more of a profound connection between the source
material and his vision. Adorned with an assortment of film-related
paraphernalia, such as a “400 Blows “ poster or a copy of Gomez-Rejon’s favorite book
“Scorsese on Scorsese,” Greg’s room is a shrine to medium. Such interest was
encouraged by his father, played by the reliably amusing Nick Offerman, who is a flamboyant lover of exotic foods and art
house titles that introduced him to great filmmakers like Werner Herzog at an
early age.

Opposing this parenting approach is the boy’s mother (Connie Britton), a
substantially more traditional figure who hopes he’ll become a well-rounded
adult in time for college. In her efforts to do this, Greg’s mother pushes him to befriend Rachel (Olivia Cooke),
a classmate that has just been diagnosed with cancer. Greg’s not pleased with the idea, but with time their initially
forced hang out sessions evolve into a form of companionship and
support neither of them anticipated.

Rachel
has leukemia, and there is no way to entirely diminish how that weights on
Greg, but she is never reduced to a defeated or pitiful token to
coerce compassion out of the viewer. Yes, the possibility of tragedy, of
lost promise, of truncated youth, is latent, but cancer is always boldly
affronted and never shied away from in a didactic manner. Tactfully, yet certainly with the intention of posing some sharp questions about the
way those who are ill are treated and perceived, the film depicts Rachel’s transition from a lively girl to a physically fragile cancer patient with an authentic range of emotions and avoiding formulaic over-sentimentalism.

Cooke and Mann are on the same wavelength and the charming complicity between the two young stars is evident. Still, there is no doubt that in the crucial, most affecting sequences the actress’ performance stands out as she conveys the character’s powerlessness and anger towards the cards she’s been dealt. Her friendship is a precious gift for Greg to figure out who
he wants to become and to bet on sympathy over isolation. To know that the
boy’s primordial interest is not to get the girl is fantastically refreshing. It decisively confirms that this is not a touching romantic tale but a film about a more intricate and untainted type of affection.

To balance out the heightened emotional heaviness as the narrative develops and to provide an assertive counterpart to Greg’s self-doubt, the third variant in this equation, Earl (RJ Cyler), blesses every scene with pragmatic, comedic observations and outrageously straightforward lines. The somewhat unbreakable toughness with glimpses of a softer side that newcomer Cyler brings, is what makes Earl a peculiarly charismatic buddy. While Greg – afraid of labeling any interaction with anyone around him – introduces Earl as a coworker, these two are almost family. Growing up in a rougher neighborhood just across from Greg’s side of town, Earl spent most of his childhood discovering film with his friend and eventually making them. 

Their oeuvre is comprised of spoof films that reshape
classics of World Cinema into hilariously juvenile and cheaply made treasures
from the mind of a pair of outcasts who, like many of us, find refuge in the
art form’s ability to transform the mundane into the extraordinary. Gems like “2:38 PM
Cowboy,” “Pooping Tom,” ”Monorash” or “A Box O’ Lips Wow” exemplify
the pure joy of making movies without any agenda or ulterior pretension. In
Greg and Earl’s purposeless, yet passionate craftsmanship, both Andrews and
Gomez-Rejon see their profound connection to the films they love validated and
perpetuated on screen. These ridiculous little homages are as entertaining and original
as the feature itself because their vibrant and precisely designed to be memorable – they are awesome.

Whether is entering a “subhuman” state to ignore
annoying conversations, hallucinating creepy characters, dealing with a war zone
called cafeteria, or spending time with his secretly wise teacher Mr. McCarthy
(Jon Bernthal), Greg’s existence is a puzzle glued together by his fear of rejection. He makes
films but never lets anyone see them worried about what they’ll think, he has a
friend but doesn’t dare to call him a friend, and he refuses to accept he has
the potential to become something greater even when everyone else points it
out. It’s only when he realizes that entirely devoting his time for someone
else’s happiness can be an exponentially more fulfilling and transformative adventure
than selfishly hiding away, that Greg grows. The kindhearted and sincere nature
of the filmmaking showcased in “Me and Earl” elevates the story even at times that could have been faulted as excessively twee if handled by a different artist.

Broad and unimaginably coherent in his use of various
techniques – including a number of claymation sequences that express Greg’s
conviction that beautiful girls have the inherent power to shatter a young
man’s life into smithereens – Gomez-Rejon direction is award-worthy on all
counts. Not only did he channel his own cinematic obsessions through the
elaborate and awe-inspiring production design, but he also used this film to
process loss in his own life by dedicating it to his father. The incredible
significance of it all is reflected in every creative aspect he commanded from Chung-hoon Chung‘s colorful
cinematography, to David Trachtenberg‘s meticulous editing, and, of course, the cast’s honest commitment. Putting that much heart into a project can’t go unnoticed.

With a non-verbal sequence highlighted by Brian Eno’s subtly industrial
and evocative score, the film finally hits you with full
force and very few resist the urge to surrender to the overwhelming tenderness of a moment that’s simultaneously hopeful, shattering,
and strikingly visual. By honoring life, celebrating artistry, and treasuring every unfolding truth about these characters, Gomez-Rejon took Andrews book and embellished it with a strangely imaginative magic that ingeniously beguiles you to fall in
love with every instant of it .

This is, indeed, the part where this writer
signs off hoping many others will find “Me and Earl and the Dying Girl” as
ravishing as he did.


“Me and Earl and the Dying Girl” opens Friday in L.A. and NYC.

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