The 1980's 'My Dinner with Andre,' with Wallace Shawn and Andre Gregory, is essentially a dialog about the world and how it affects and can lift the spirit. 2005's 'You Are Alone' demonstrates how common worldly events can shatter the soul.
The story revolves around three principal characters. There's Daphne, a pretty teenage student who frets about virtually every decision in her life. Then there's the prostitute, or paid escort, Britney, as self-confident as Daphne is self-conscious. What makes them interesting is that they share the same body, if not the same personae. Part of the magic of this film occurs in one of the early scenes where Daphne approaches a door of an aged hotel room. She halts and is obviously torn by the decision of whether or not to knock on the door but it is Britney that effortlessly glides into the room when the door is opened.
On the other side of that door is Buddy, a middle-aged nobody with few, if any, personal qualities that anyone would find attractive. He goes so far as to be confrontational about Britney's chosen profession as soon as she enters the room. However, we soon learn that Buddy is Daphne's next-door neighbor and has watched through the years as she grew from little girl to womanhood. This complicates things for the audience. Is Buddy just being a concerned neighbor or does he want something else?
If it's sex that Buddy wants, here it is. Britney loves sex. Her definitions may be Clintonesque but that doesn't lesson her enthusiasm. She prefers older men and wears a rainbow of plastic wristbands that her clients are invited to chose from. Each color band denotes a specific act that she'll perform but exactly which act isn't revealed until after the band is broken off her wrist and the choice is irrevocably made.
Britney is, or believes that she is, in control of every encounter. Even when blindfolded and bound, as she is by one of her regular clients, she imagines her arms and body being stroked by multiple men but her legs and pubic area being caressed by a woman in blood red lingerie. The film's imagery just keeps coming.
Buddy's pathetic life is one of acceptance. He's lost his wife, his dog, even his fantasies of the pretty teenager next-door. It's no coincidence that he's lured Daphne or Britney to this particular hotel room. There's a painting on the wall of a dinner plate with only a fish head left. This is a perfect metaphor for Buddy's life; all of the good parts are finished. So it's here, where he brought his wife when they were still college students, that he makes his stand to regain some control of his own life, to make his statement.
The director of 'You Are Alone,' Gorman Bechard, knows his craft. The principal action in the hotel room serves as a solid anchor for the film, assisted by a myriad of inter-cut scenes that add dimension to the characters, their circumstances and conflicts.
As the film progresses, Britney asks Buddy if she should get undressed. He says yes, but she strips only to her underwear. An actual prostitute would probably remove all of her clothes (one of the profession's five gets). But it isn't Buddy that's being teased, we are. As the film concludes, we find that there are far deeper human emotions and motivations in play. A tease doesn't work unless it actually delivers. Britney does, so does 'You Are Alone'.
The story revolves around three principal characters. There's Daphne, a pretty teenage student who frets about virtually every decision in her life. Then there's the prostitute, or paid escort, Britney, as self-confident as Daphne is self-conscious. What makes them interesting is that they share the same body, if not the same personae. Part of the magic of this film occurs in one of the early scenes where Daphne approaches a door of an aged hotel room. She halts and is obviously torn by the decision of whether or not to knock on the door but it is Britney that effortlessly glides into the room when the door is opened.
On the other side of that door is Buddy, a middle-aged nobody with few, if any, personal qualities that anyone would find attractive. He goes so far as to be confrontational about Britney's chosen profession as soon as she enters the room. However, we soon learn that Buddy is Daphne's next-door neighbor and has watched through the years as she grew from little girl to womanhood. This complicates things for the audience. Is Buddy just being a concerned neighbor or does he want something else?
If it's sex that Buddy wants, here it is. Britney loves sex. Her definitions may be Clintonesque but that doesn't lesson her enthusiasm. She prefers older men and wears a rainbow of plastic wristbands that her clients are invited to chose from. Each color band denotes a specific act that she'll perform but exactly which act isn't revealed until after the band is broken off her wrist and the choice is irrevocably made.
Britney is, or believes that she is, in control of every encounter. Even when blindfolded and bound, as she is by one of her regular clients, she imagines her arms and body being stroked by multiple men but her legs and pubic area being caressed by a woman in blood red lingerie. The film's imagery just keeps coming.
Buddy's pathetic life is one of acceptance. He's lost his wife, his dog, even his fantasies of the pretty teenager next-door. It's no coincidence that he's lured Daphne or Britney to this particular hotel room. There's a painting on the wall of a dinner plate with only a fish head left. This is a perfect metaphor for Buddy's life; all of the good parts are finished. So it's here, where he brought his wife when they were still college students, that he makes his stand to regain some control of his own life, to make his statement.
The director of 'You Are Alone,' Gorman Bechard, knows his craft. The principal action in the hotel room serves as a solid anchor for the film, assisted by a myriad of inter-cut scenes that add dimension to the characters, their circumstances and conflicts.
As the film progresses, Britney asks Buddy if she should get undressed. He says yes, but she strips only to her underwear. An actual prostitute would probably remove all of her clothes (one of the profession's five gets). But it isn't Buddy that's being teased, we are. As the film concludes, we find that there are far deeper human emotions and motivations in play. A tease doesn't work unless it actually delivers. Britney does, so does 'You Are Alone'.