Text © Richard Gary / Indie Horror Films, 2017
Images from the Internet
Fairfield Follies
Written, produced, directed and edited by Laura Pepper
Peppered Productions
100 minutes / 2017
www.facebook.com/FairfieldFolliesFilm/
https://twitter.com/Peppered_Pro
https://www.indiegogo.com/projects/fairfield-follies#/
https://twitter.com/Peppered_Pro
https://www.indiegogo.com/projects/fairfield-follies#/
The summer
sun is almost at full apex, so what better time to review a new film about a
Christmas pageant in the fictional town of Fairfield? The writer / director
/ producer / actor Laura Pepper has been on my radar for a couple of years now,
though I have yet to see any of the short films she has released. Might as well
start on a larger scale (set?) with her directorial feature debut, right? This
certainly does not pertain to a horror film, per se, but it’s indie and off
kilter enough to qualify for this blog.
Susanne Colle |
There have
been enough behind-the-scenes-of-a-play comedies to create its own genre, from
the relatively recent Waiting for Guffman
(1997) to the less recent A Midsummer
Night’s Dream (1595; as a side note, some of the cast here, as well the
director, also appeared in a recent film version of the Shakespeare play,
reviewed HERE), so there is always room for another,
as it’s a motif that has obviously not yet wrung dry.
In this
Fairfield, the local
Christmas Pageant has been run by the elderly Mrs. Whitelove (Mary DeBerry),
who “passes the baton” onto a newcomer, Ms. Evans (Susanne Colle). There are
two ways you know the change is going to be a big one: first, the specification
of the differences between Mrs. and Ms. (old vs. new), and second that the
former lives up to her name by doing a Blazing
Saddles in the first two minutes of this picture.
Cardryell Truss |
Evans’ plan
is to use the opportunity to update the tradition by being PC and including all
belief systems and holidays (Chanukah, Kwanzaa, etc.). The problem is that everyone
in the cast and crew has a bit of their own ingrained – err –
uncomfortabilities, which come out the more they are suppressed. Yes, this is a
non-PC show about trying to be diverse. A direct example of it is the inclusion
of a Big House parolee by the wonderful
name of Leon Leonne (played by the equally unusually named Cardryell Truss).
To add to
all the tsuris, the cast are behaving
like little kids, with petty spats, jealousies, overheated libidos, and
bullying (e.g., one character complains to his mom over the phone, “They tell
me I overact, and no one will sit with me during lunch!”). Trying to deal with
them, Evans has to treat them like a naughty grade school class, even having a “shame
stool” in a corner (what, no conical hats? I kid…). More trouble follows as
Evans repeatedly gets sick or food poisoning, keeping her from rehearsals; a
piece of dialog spouted by the hyper-Christian Assistant Director, Wally (John
Campbell), is a hint of why this is happening. The end result isn’t hard to guess
when it gets close.
Let’s turn
to some of the technical aspects of the film. For me, it’s kind of strange
knowing that the fabulous J. Poisson is the cinematographer as this is
different from anything I’ve ever seen her do, specifically most of her other
work that’s passed before me had harsh, primary colors that reflected the mood of
the scenes. Here, it’s quite harshly…white. Well, considering the context of
the story, perhaps that is reflecting
the mood of many of the characters. It’s nice to note that despite the… well,
to paraphrase Carmen Ghia in the original The
Producers, “White, white, white is the color of the walls,” yet the image
isn’t washed out, nor are the colors of the costumes either lost in it, nor is
it blinding. That shows good work, in my opinion.
This is
supposed to be a commentary on Community Theater in a well-off – err –
community, so the onstage emoting is geared towards overacting, but as this is
a spoof, it goes on quite a bit pretty much throughout. I’ve seen many of the
actors in other roles, and I’ve seen that they can indeed act rather than ahhct, so that is why I am assuming it’s
purposeful. Anna Rizzo, for example, has proven herself to be quite the serious
performer when need be elsewhere, in the likes of Moments from a Sidewalk (2016) or Long Night in a Dead City (2017).
Johnny Sederquist |
The
characters are just, well, silly. But this is a silly film that is making an
important statement, and it works because
of its outrageousness rather than in
spite of it. That being said, while many of these people are head
scratchers to this viewer, most of whom are certainly not the usual clichés one
tends to see in independent, and especially micro-budget release, so that’s a
success in my book. I do have to say that my two favorite characters are in the
third act, being two Asian women (Laura Mok, Jaclyn Kelly Go) in the audience
who are a Greek Chorus to both the pageant and the situations around it.
Having been
filmed in the later part of 2014, there are quite a few comments that could have been about the 2016 presidential election and the basket of deplorables (i.e., racists,
religious fanatics) that follow the beliefs that are mocked in this film. It is
incredibly timely, giving more strength to the subplots.
Director / Writer Laura Pepper |
Now comes
the $64,000 Question: is it funny? Actually, it’s extremely humorous. Even the cringe
worthy moments (e.g., racist or religion-based statements spouted by some
characters) are quite good. I was surprised by how many times I caught myself
laughing, or snorting. There are so many moments that just work. For example,
Evans’ is a lonely woman and so there is a strong “cat” subtext going on in her
house, including her doorbell and phone sounding like a strange, mechanical
meow. There are a lot of hysterical bits, like the effeminate costume director,
Jeremy (the excellent as always Johnny Sederquist), whose eyes light up with
ideas when he mentions that Mother Mary (whom he confuses with Mary Magdalene)
is the “Dearest Mommy.” Or the film’s director showing up in a recurring, mostly
silent delivery person role (speaking of which, make sure you watch past the
credits). The look she gives Evans the first time they meet, as a director’s
nod to a director, is subtle but enjoyable.
It’s pretty
obvious that this is a first feature for a director, as there are definitely
some issues with the film as a whole, many of them technical. For example,
there is an inconsistency with the sound. In some scenes, there is a sharp echo
of ambient room noise; yet, in other scenes, the voices sound flat, I’m
assuming dubbed in later. But hey, nearly every filmmaker has a learning curve.
I’m sure it will improve as she (hopefully) continues on. Overall, this was a
very successful outing, and I look forward to a long career for Peppered
Productions.
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