AKA

AKA is an Art Film in every sense of the word. The script by Director Duncan Roy is autobiographical and extremely well written. According to the film, Dean Page (in a phenomenally sensitive portrayal by Matthew Leitch who appeared in 'Band of Brothers') is the only child of an abusive father (the abuse includes sexual abuse) and a mother who is a waitress in a classy eatery populated by the upper crust of British society - a class she longs to know intimately. The abuse finally comes to a head and Dean leaves home only to be befriended by a lonely elderly gay man who introduces him to friends who for the first time make Dean feel 'acceptable'. Dean longs to have the privilege and money of the upper class and he sets about to imitate and eventually create a persona as the son of Lady Gryffoyn (Diana Quick in her usual fine stylish performance standard), another person who has befriended him. Assuming the 'role' of Alexander Gryffoyn, Dean uses a credit card to gain meals, clothes, and all the trimmings of a forged identity. He is unable to engage in relationships with either male or female, as his memory of his father's abuse always remains a demon. Eventually he encounters a young lad Benjamin (Peter Youngblood Hills, also from the 'Band of Brothers' cast), is attracted to his way of life, and when Dean moves from London to Paris to keep ahead of the law, he finds Benjamin there with his latest consort David (George Asprey) and the three become a 'triptych'. Eventually Dean's hoax is discovered but not before he has thoroughly lost his ungainly accent, learned the manners and methods of the gentrified British class, and is able to fool everyone but himself. How the fall of this facade plays out is the beauty of the story, and that ending includes many very poignant insights into parenting, into British class systems, and into the subject of sexuality. The cast is uniformly excellent (cameos include a blind 'Uncle" played by Bill Nighy!) and the photography is beautiful. And that is where the Double Pleasure comes in. This film was shot in both full screen single camera focus and in a beautifully realized Triptych form: in the later there are always three film frames of each scene allowing the viewer varied vantages and moments of emphasis that only grow more pertinent as the film's story is known. The story and cast and directing are so strong that I chose to watch the film first in the single screen format to see the story. Then watching it in the Triptych format is ever so much more meaningful. This is not only a very good film, it is an excellent example of how cinema can move bravely into the complete art arena. Highly recommended on every level.

This movie is very well done, exceeding my expectations for it. The core talent is wonderful and the plot line pretty compelling.

Dean, going on 18, has, it's safe to say, a terrible home life. His mother works as a waitress to the elite and fancies herself their friend, so she brings home stories to Dean about her relationships with the rich and powerful. His stepfather is abusive, and not just verbally. Yet when his stepfather orders him out of the house, his mother inexplicably refuses to stand up for him, leading Dean to make his way on his own.

Dean manages to find a job with one of the elite whom his mother serves, granting him access to the inner life of the rich and fabulous. Unfortunately, Dean soon meets with snobbery and elitism and is again booted from the ranks of the rich.

Emboldened by a stranger, Dean makes his way to Paris, where, on a lark, he identifies himself as the son of the very person he used to work for. This opens all kinds of doors for him and grants in the life he always wishes that he had.

Dean's journey is remarkable for a number of reasons. First, the fact that Dean is living a constant lie makes most of his relationships a challenge. As importantly, he must start coming into his own sexual identity, a process made none too easy by his stepfather.

In the end, this story appears to amount to Dean's ongoing attempt to find love, in whatever form it may exist. His home life, unfortunately, has not served as a very positive lesson in what it means to love another person. By the same token, though, his newfound friends and lovers also teach him -- the hard way -- about the meaning of giving yourself to another.

By the time the movie ends, Dean still probably hasn't reached an effective and conclusive resolution to his issues, nor has he completely exorcised his demons. But the journey of his young adulthood is fascinating to watch.

Some extra notes: the "normal" version of this film is the default play on the DVD. However, the movie is truly best experienced watching the triptych version (an ongoing triple split screen). It's a powerful and fascinating style.

One complaint: there are no subtitles on this DVD. Sometimes, when the actors voices were too low, in conjunction with their British accents, I simply couldn't understand what they were saying.

Also, the extended commentary track of the DVD contains and running monologue from Duncan Roy, director and producer, upon whose life the story is loosely based. At times, the commentary is fascinating, just because you come to realize that what Dean goes through in the film is what this man went through himself, to a degree. At the same time, however, many times his comments fail to match up with the action on the screen and so it feels like he's somewhat blathering on apropos of nothing.

All in all, a very well done movie.

AKA is writer/director Duncan Roy's thought-provoking memoir of his own youth. He escaped from a brutal, sexually abusive working-class household by assuming the identity of a young aristocrat and became famous - or notorious, rather - in the process.

Mr. Roy's movie is brilliantly written, directed, and cast. Matthew Leitch is perfect as Dean, the handsome, sweet, innocently seductive young man who desperately wants a better -- or, to be more precise, another -- life. His intelligence, looks, charm, and manner make people want to believe he is who he says. All the actors are notable and entertaining. Two are exceptional: Diana Quick as the prickly patrician Lady Gryffoyn, whose son Dean impersonates; and George Asprey as the striking, urbane, gay aristocrat who takes Dean under his wing. Heir to the Asprey fortune in real life, he was born for the part.

Aside from the fascinating story, imaginative photography done solely with available light, and perfect musical support, AKA is a scathing portrayal of the English class system, where aristocrats rely on certain cues (accent, pronunciation, name, manners, schooling, demeanor) to identify one another and preserve their exclusivity. Dean lives as 'one of them' successfully and happily for over a year. After which he says, quite truthfully (if Mr. Roy's portrait of Alexander Gryffoyn is in any way accurate in its mean-spirited snobbery), that he was a better Lord Gryffoyn than the real one could ever be. Mr. Roy also depicts a working class equally complicit in maintaining 'place' and limited social mobility.

After watching the single screen version, the three-screen triptych version, as it was released theatrically, is an interesting complement which adds dimension to the story. Mr. Roy's commentary track is illuminating politically, and enlightening cinematically. His film is a very personal work of art. The entire ensemble is outstanding, but the talent and beauty of Matthew Leitch form the solid core on which the story rests.

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