Please Baby Please

I immensely enjoyed Amanda Kramer's previous full-length films, 'Ladyworld' and 'Paris window,' and I've very much been looking forward to this from the time I first became aware of it. With a few very recognizable actors on hand there was a part of me that thought maybe this movie would be slightly more straightforward or conventional, but as it turns out, this is no less offbeat, and possibly matches or exceeds the previous titles in that regard. It's terrifically well made, with a superb and somewhat whimsical sense of aesthetics, and the script - well, what can I say except that this is delightfully weird, and curiously engrossing for the fact of it. It's safe to say that this will appeal to a decidedly select audience, only those who are receptive to the most odd, obscure, and outlandish of offerings; even for those most prepared, it might take a while when watching to truly start to understand what Kramer is doing. For those who are looking for such fare, however, 'Please baby please' is an outstanding, idiosyncratic experience that's well worth checking out, and a fabulous credit to all involved.

It seems to me that this to some degree echoes the quirky "performance art" ethos of 'Paris window' and perhaps more so the considerable stage drama slant of 'Ladyworld.' There are particular characters that are followed throughout these ninety-five minutes, and distinct plot threads weaving the whole together. Yet Kramer and co-writer Noel David Taylor present us with a series of discrete scenes that, despite such ties and a definite progression, feel like piece by piece treatments of the emphatic unifying vision and themes. The premise seems plain enough, but the picture is much more oblique and far-out in practice as it explores the shifting sands of sexuality, gender, identity, and the dynamics thereof; norms and expectations on personal, interpersonal, social, and cultural levels of associated behavior and psychology; and the limitations imposed upon or leniency granted based on all such facets. Oblique, far-out - and, I should say, frankly brilliant in its unorthodox approach to these notions. With this firmly in mind, while the overall story is softly bewitching, and the characters strange and complicated as written, where the screenplay is concerned it's the scene writing that's strongest of all, assembling the tableau like a mosaic comprised of greatly detailed miniature paintings instead of tiles of solid colors. Every idea broached, and the ways in which they're broached, are equal parts bizarre and striking, fiercely intelligent and ferociously biting in how they directly relate to discourse in real life.

Kramer's direction, orchestrating every shot and each wonderfully unique, imaginative, smart scene, is altogether exceptional. She's a filmmaker who clearly possesses a shrewd intellect and far-ranging sight, and she uses these gifts to give us features of underhanded gravity and undeniable, atypical artistry. This extends just as surely to the instruction she imparts to her cast, who across the board give tremendous, rather eccentric performances that really feel from one to the next like something far removed from the usual for anyone involved. My commendations to Kramer and casting director Eyde Belasco, for the ensemble here is truly, gratifyingly diverse: established star power, up and comers, and fresh young things; a broad representation of age, race, gender. It's difficult to possibly name a favorite among all those appearing here as everyone freely gives themselves over to the exemplary fancy of the title, but as much as Andrea Riseborough and Harry Melling prominently stand out, with Karl Glusman only half a step behind, this might be the best thing that any of them have ever done, and that's saying a lot. This also seems an appropriate place to spotlight the stupendous original music of Giulio Carmassi and Bryan Scary. For, like Callie Ryan's score for 'Ladyworld' or Ben Babbitt's work in 'Paris window,' Carmassi and Scary's compositions lend incredible, vibrant, lasting flavor throughout the length. The themes do so very much to enrich the viewing experience, to the point that I'd quite like to add the music to my own collection if I could; add in Marty Kudelka's playful and fetching choreography, and the ways in which the actors themselves feed into these components, and 'Please baby please' is marvelously rewarding.

And still we're not done, for this is to say nothing of the fantastic work of everyone behind the scenes. The production design and art direction burst with vivid hues; every set is a cinephile's dream. Basic lighting is warm and inviting; Patrick Meade Jones' cinematography is careful, precise, and very easy on the eyes. Benjamin Shearn's editing is just plain terrific. And in still other regards - costume design, hair, makeup, stunts, effects: from the first to the last, this is stunningly sharp in its craftsmanship, creative, and high-flown, if not altogether ingenious.

Ironically, for what 'Please baby please' has to impart about its subject matter in its own sideways fashion, those who would most benefit from the substance (stodgy, conservative, cisgender, heterosexual, and mostly men) are probably the least likely to enjoy the movie even outside of that brainy core. There's no mistaking how joyously wild this is in its embrace of artful spectacle, nor how left-field its storytelling. This is a film fundamentally built with an eye for somewhat divergent or nonconformist visuals, and a like sensibility toward communicating its thoughts. Relatively select is the audience that would honestly engage with this in the first place, so the likelihood is minimal of the feature's most important content greeting the ears of those who need most to hear it. This is no flaw of Kramer's piece, mind you; that's just the way it is. As far as critiques go, though, I would maybe note that every now and again the writing seems to waver a little between pure spectacle, objective conveyance of plot, and sheer theatricality, coming off as marginally imbalanced in the process. There's a lot that this production aims to do, and while I think far and away that it's highly successful, it's possibly not 100% on target. Then again, it's close enough that in my mind the difference doesn't even matter: it may not be absolutely perfect, but the grand luminosity of its strengths pointedly outshine its minor subjective weaknesses.

Now, I get it. Given everything that this is and represents, the ideas it plays with, the nature of the presentation, the extraordinary approach toward almost every facet of the production - I don't expect it to ever gain traction. When the term "cult hit" is applied retroactively applied to a title the implication is of a comparatively small but measurable following; Kramer's reach is sadly not nearly as great as she deserves, and this 2022 film is so peculiar and specific as far as individuals' tastes and preferences that I regret to think it will never reach the numbers necessary to attain that descriptor. I firmly believe 'Please baby please' is exquisite, clever, and dazzling, but I also recognize that it will call to only a niche viewership. Be all that as it may, however, I can only reflect that I'm very impressed. Based on Kramer's prior efforts I had quite lofty expectations in the first place, and still I'm blown away by how bright, slick, and all-around entertaining this picture is. For my money the filmmaker has once again knocked it out of the park, and arguably exhibits demonstrative growth in her skills compared to a few years ago. It's hard to know who I would recommend this to save for those open to the most far-flung possibilities the medium has to offer, but all I know is that I'm endlessly pleased by how good 'Please baby please' is, and I can't wait to see what Kramer does next.