All over “All Over Me”

Sometimes a movie just finds you right when you wanna see it. I felt this way the other night watching Alex Sichel’s only movie, 1997′s All Over Me. Five minutes into this poignant story (written by Alex’s sister Sylvia) about a young girl coming out, crushing on her friend, learning about homophobia, finding love, and thrashing on her guitar, I was hooked.

It didn’t hurt that the movie makes good use of Babes in Toyland and Sleater-Kinney.

I originally put this one in my Netflix queue because Leisha Hailey is in it. She has hot pink hair and plays in a band led by Helium’s Mary Timony called Coochie Pop. Perhaps unsurprisingly, I love her. I met her once when a friend was building her house in Marfa and she was as nice as I was paralyzed with awe. I think I was about 11 when I heard “You Suck,” a song she recorded as one-half of The Murmurs. I also really like their cover to the theme for H.R. Pufnstuf from the ultra-90s alterna compilation Saturday Morning: Cartoons’ Greatest Hits. They were two girls with Manic Panic hair, acoustic guitars, and helium voices that swore a lot, often in harmony.

How can you not love her?; film still of Leisha Haileys Lucy

How can you not love her?; film still of Leisha Hailey's Lucy

And, then there’s all the other stuff she’s done. The Yoplait ads that a lot of people have slammed but that she and I argue are super-queer (especially this one). Her electro project Uh Huh Her (taken from the PJ Harvey album of same name). She was also consistently my favorite part of The L Word, playing sarcastic, loyal, proudly bisexual wordsmith and deejay Alice Pieszecki.

Anyway, Hailey’s the love interest in this one. And does she ever meet cute with the movie’s protagonist. They exchange flirtatious glances in a guitar store. Hearts.

The story itself focuses on Claude (not Claudette, even though that’s her given name), a fifteen-year-old, working class baby dyke who loves knee-length shorts, her guitar, and her best friend Ellen (played by be-credded Imitation of Christ impresario Tara Subkoff) who is in serious denial about her friend’s true feelings (and possibly her own).

All around Claude, people are correcting her, trying to convince her that she likes boys, telling her to dress more feminine, putting lipstick on her. It’s particularly hurtful that the worst enforcers of heteronormativity in her life are also the two closest female presences — Ellen and her single mother, Anne (played by Ann Dowd, who plays Cookie Kelly, a similarly unsympathetic mother, in Freaks and Geeks).

It doesn’t help matters that Claude is totally in love with her best friend, who has ambivalent feelings about their relationship. Ellen seems to be aware of Claude’s attraction, and in two instances (momentary) reciprocates physically, but quickly dismisses these moments, running away from them so as to get closer to Mark, her dangerous, homophobic, possessive, violent boyfriend who may have killed a young gay man in the neighborhood. He’s played to type by Cole Hauser, who may be a lovely individual, but has a low monotone and looks like a red-headed potato and thus seems pitch-perfect to play angry young chauvinists.

When Ellen isn’t running to Mark, she’s abusing drugs and drinking. Add to that her (anorexic?) skinniness and blondeness and you have a girl trying very hard to be rebellious and subversive but who actually plays right into staid notions of straight, white, patriarchal society. And while she always reaches out to Claude in need — notedly through music, as both girls play the guitar — she is just as quick to push her away.

Meanwhile, Claude can’t really abide by straightness or patriarchy. There’s no room for her without completely destroying her spirit. Actress Alison Folland (who I thought was heart-breaking in To Die For) makes Claude both nervous and sedate, on edge but starting to make peace and embrace her lesbianism, recognizing that a life in the closet is far graver than the initial scariness of coming out.

As a result of recognizing her burgeoning sexuality, Claude starts breaking from Ellen, making a few queer friends in the process. A pleasant surprise in the movie is the presence of Wilson Cruz. He plays Jesse, who works with Claude at the neighborhood pizza parlor. As many know, he played Ricky Vasquez on My So-Called Life, one of the first and more fully realized gay teens on television. In some ways, he’s not playing too dissimilar a character here — the gay friend — but, like Ricky, is also a quiet, pensive, damaged but resilient young man. And one key way that he is not just playing the gay friend is that he is the gay friend to a young lesbian, thus promoting the idea that members of the LGBT community can be friends and allies across orientations.

Claude also gets involved with Lucy, a local musician played by Leisha Hailey. While Lucy’s age is never explicitly stated, it is revealed that she lives at home with her dad, who is often away, implying that she’s about Claude age. Claude meets Lucy at her band’s concert, blown away by her talent. Yet, she’s able to play the chivalrous dyke and buy Lucy a drink. She then goes home with her to hang out and listen to records, while Ellen camps out with Mark in Claude’s bedroom. Claude puts on one album (presumably Patti Smith’s Radio Ethiopia), and has the following emotional scene.

While I have ideological problems with Patti Smith’s gender configurations and how essentializing and normativitizing (male) rock historians can be of her work (particularly Horses), I was completely moved by this scene. By my count, there’s two things going on here: Claude is in anguish over Ellen and she is starting to confront her fear and anxiety of being gay (“Should I pursue a path so twisted? Should I crawl defeated and gifted? Should I go the length of a river?”).

Importantly, Claude isn’t galvanized after this scene or by this song (indeed, perhaps some would argue, in this movie, as she never has a big coming-out moment; the closest moments are at the end — one is implied, the other wordless). Through the rest of the movie, she struggles and evolves while learning to own and articulate her feelings for Lucy and confront the impossibly for her and Ellen to be together. Yet, Claude is becoming aware and is learning to develop and assert herself, potentially holding a guitar in one hand and Lucy’s hand in the other. No small feat for a fifteen-year-old lesbian teenager.

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4 comments

  1. c8ic8

    This movie sounds terrific! I will have to queue it up right away.

    I’m glad you mention Alison Folland’s performance in To Die For, as it is the one with which I most associate her. There’s a lot of great queer tension in that character’s interactions with Nicole Kidman’s Suzanne. It makes me all the more curious about All Over Me, as it seems like that film fleshes out these issues more thoroughly.

    • Alyx Vesey

      I especially want you and Lambert to see this one. When I watched it, you were the two folks I thought about.

  2. k

    Actually alyx let me borrow her copy of the film and I watched it this weekend. Overall I really enjoyed the film and the ambiguity of Claude coming out. While I can appreciate such films as But I’m a Cheerleader and the coming out scene in that film, I appreciate that All Over Me positions “coming out” as an on-going and complex process – perhaps including multiple stages (or varying degrees) of coming out, as is the case in the scene where Claude is reluctant at first to kiss Lucy in public.

  3. Pingback: Robin Tunney double feature: “Empire Records” and “The Craft” « Feminist Music Geek

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