But I’m a Cheerleader is too short. It runs eighty-five minutes, which would be fine if the narrative fit into director Babbit’s affected, aspirationally camp style. But Brian Peterson’s script is front heavy. And Jules Labarthe’s cinematography is too flat. Rachel Kamerman’s production design is loud, but Labarthe shoots it too shallow. He’s also not great at lighting actors between shots. Even if he were, Cecily Rhett wouldn’t be good at cutting those shots.
Cheerleader is utterly sincere, which is great, but Babbit and Peterson don’t take the film through that sincerity as it develops. After a deliberately paced two-thirds, all of a sudden Cheerleader is in a rush to finish. The script has taken a traditional romantic comedy direction–down to a deus ex conclusion so spared down it utterly lacks the needed spectacle. Peterson’s script doesn’t lay the groundwork for it until the second half, which is a whole other problem. The film doesn’t flow well.
It wouldn’t help if Cheerleader accomplished affected camp. It doesn’t need to be camp. It accomplishes something else entirely, this amazing relationship between Natasha Lyonne and Clea DuVall, which turns out to be the point of the script. Only it doesn’t seem like it was always the point of the script, because the original point of the script was Lyonne’s character development; her personal growth arc gives way to traditional rom-com stuff.
Lyonne’s a high school cheerleader who finds herself whisked away to a “brainwash the gay away” camp. Parents Bud Cort and Mink Stole are upset previously prim, proper, and Protestant Lyonne now wants to eat tofu. And then there’s her Melissa Etheridge poster. So they call RuPaul (out of drag and quite funny) to consult. He’s an “ex-gay” who works at the camp (run by Cathy Moriarty).
But Lyonne doesn’t think she’s gay. So there’s character development on that plotline. And there’s development on her plotline with her parents. And there’s development on her plotline with DuVall, the semi-goth rich girl who isn’t trying to get rid of her gay, just learn how to hide it. The last plotline doesn’t just tie into Lyonne’s own sexuality plotline, but also her parents plotline and her life and values in general. In the midst of the affected camp, with Lyonne looking like a sixties cheerleader doll, she and DuVall have these terribly lighted, terribly edited, wonderful moments.
Lyonne’s fine in the lead. She gets better as her character becomes more proactive, but DuVall’s spellbinding. She’s (maybe) the object of Lyonne’s affection and Babbit does a great job presenting her and developing her from Lyonne’s perspective. While it’s not camp or affected and often feels like a different movie, their chemistry makes Cheerleader quite special for a while.
Then comes Peterson’s disastrous third act. It happens gradually too, almost forecasting itself. There’s just no way for Babbit and Peterson to get the film across the finish line in the eighty-five minutes so they grab what they can and wrap it up quick. Peterson throws out distractions in almost every scene–which can be cute, like ex-ex-gays Wesley Mann and Richard Moll bickering–but don’t end up doing anything. It’s filler, because the film’s lost Lyonne’s character development. She’s a protagonist with a stalled arc.
Moriarty’s all right. The script stops giving her anything extra after the first act setup and, given the outrageously pink (and overtly homoerotic) mansion interiors, Moriarty should have a lot extra. Instead, she just has son Eddie Cibrian, who’s a buff temptation for all the gay boys at the camp. There’s a big supporting cast of “campers” and they’re all fine. Melanie Lynskey gets more to do than most, she’s good.
Babbit wants to have the freedoms of affectation while retaining sincerity. Only Cheerleader doesn’t get to sincerity through affectation, it’s something Babbit and Peterson just drop into the affectation and try to make room. It doesn’t work, which is a shame, because DuVall and Lyonne deserve a better film. Babbit seems like she wants to deliver one too.
But I’m a Cheerleader is cute and fun. And sweet. But it could’ve been something much better.
Directed by Jamie Babbit; screenplay by Brian Peterson, based on a story by Babbit; director of photography, Jules Labarthe; edited by Cecily Rhett; music by Pat Irwin; production designer, Rachel Kamerman; produced by Andrea Sperling and Leanna Creel; released by Lions Gate Entertainment.
Starring Natasha Lyonne (Megan), Clea DuVall (Graham), Cathy Moriarty (Mary Brown), Melanie Lynskey (Hilary), RuPaul (Mike), Bud Cort (Peter), Mink Stole (Nancy), Dante Basco (Dolph), and Eddie Cibrian (Rock).
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