The Mattachine Family
Andy Vallentine’s debut feature, from a screenplay by his husband Danny Vallentine, explores the tribulations of gay fostering.
Image courtesy of Peccadillo Pictures
The chief point of interest in this American feature debut is that it tackles a subject that other gay films seem to have neglected but which could be the basis of a rewarding and insightful work. That subject is the desire that some gay people have to adopt a child and this treatment of it is by the Vallentines, director Andy and writer Danny, who are themselves a married couple who have taken that route. But, while they can claim to be insiders in this respect and have built a story in which the characters apparently somewhat echo actual acquaintances of theirs, The Mattachine Family sadly comes across as the kind of work that often feels akin to a piece for television, not exactly a situation comedy since it aims at drama too but certainly something that lacks the deeper sense of reality that the subject deserves.
The opening pre-credit sequence is actually rather promising. It introduces one of the central characters – Thomas played by Nico Tortorella – as a voice over talking about the realisation of being gay and quickly leading into a summary of his life to date as viewed in a montage that covers first his childhood years, then the death of his father and much later his marriage to Oscar (Juan Pablo Di Pace) who had formerly been a popular child actor on television. We learn too that as a couple they had arranged to foster a child named Arthur and all this makes for a smart involving introduction with the plot developing when we learn that the arrangement had been temporary and that Arthur’s mother, Sarah (Colleen Foy), has decided that she wants him back after all. What follows sees Thomas wishing to follow through by finding another child to adopt while also making it apparent that Oscar, now with a chance to rebuild his acting career, is less keen to take on such a responsibility.
This is a set-up which lends itself to investigating a number of questions around gay adoption. Thus, one can ask what special factors might be behind a gay couple wishing to adopt. In this instance it is suggested that because his father's early death in a car crash had robbed Thomas of a full relationship with his dad, he is all the keener to experience such a connection, albeit in reverse with him as the father figure. Another issue that arises is connected to the tension that the idea of adoption causes since the fact that Oscar is in demand again as an actor would take him away from L.A. whereas Thomas wants to stay put. Furthermore, from the time he spent with Arthur he has realised that loving a child is what could matter to him almost more than anything else.
But, if the potential interest inherent in the subject matter is clear, Danny Vallentine’s screenplay often seems superficial and, indeed, in wanting to create comedy as well as drama, Andy has described his wish to take the characters over the top. He certainly does that early on when the social worker connected with fostering and adoption, Laura (Annie Funke), has a fall and the way in which the scene is shot is totally exaggerated. These early scenes tend to portray the couple in a semi-camp way which not only reminds one of TV comedy but of the days when such material featured gay stereotypes. This part of the film also establishes three friends who are close to our couple. One is Jamie (Jake Choi) who comes on as a kind of comic relief character and the others are a lesbian couple, Leah (Emily Hampshire) and Sonia (Cloie Wyatt Taylor). But these two again lack the deeper conviction that is required and the fact that they are seeking a child by IVF feels like a ploy to extend the central theme. Meanwhile, another acquaintance is Annie played by Heather Matarazzo who made such a strong impression as a child actress actress in 1995’s Welcome to the Doll House. Here, however, she is encouraged to overplay in a role in which co-parenting again features, this time as an existing arrangement that her character has with a gay man (Carl Clemons-Hopkins).
As the film goes on it includes several more montage sequences but unlike the opening one, they come to feel a bit of a gimmick. At the same time to carry the story forward with scenes set at Thanksgiving, Christmas and New Year's Eve feels clichéd and unimaginative. The catchpenny title is a reference to The Mattachine Society founded by Harry Hay in 1950 but, while a commemorative site is visited by Thomas and Leah, the reference is mainly significant for the fact that the film’s title replaces ‘Society’ with ‘Family’. Ultimately, the film is leading to an ending which lacks the build-up that would make it believable and touching. Instead, it suggests that at heart the film views family, however redefined, in much the same sentimental way as many an old-fashioned movie did. In short, The Mattachine Family is just never real enough to do justice to its subject-matter even though it means well and the players are clearly committed to their task. As I said, the novelty value of the material is the main credit that this film possesses even if it fails to do it justice. However, it may even lose out on that score for viewers in Britain since they may well have recently seen an actual TV series that reached them first and dealt with comparable themes, Lost Boys and Fairies.
MANSEL STIMPSON
Cast: Nico Tortorella, Juan Pablo Di Pace, Jake Choi, Emily Hampshire, Cloie Wyatt Taylor, Carl Clemons-Hopkins, Annie Funke, Heather Matarazzo, Colleen Foy, Garrett Clayton, Matthew Postlethwaite.
Dir Andy Vallentine, Pro Mike Diaz, Scott Boland, Siddharth Ganji, Cameron Hutchison, Stuart Heinlein and Andy Vallentine, Screenplay Danny Vallentine, Ph Julia Swain, Art Dir Marcel Andre, Ed Jonathan Melin, Music Kotomi, Costumes Brittany Kay.
Huckleberry Media/A Vallentine Family Film-Peccadillo Pictures.
100 mins. USA. 2023. US Rel: 4 June 2024. UK Rel: 24 June 2024. No Cert.
