Love, Simon: love review


Can’t see Love, Simon without replacing it with the teen movie genre, a great and interesting program to come fromAmerican College from John Landis to She is so beautiful with Freddie Prinze Jr., passed by the inevitable John Hughes (Sixteen candles for Sam, Ferris Bueller’s Crazy Day, Breakfast Club). Like any genre, and with rare exceptions like movies’s Gregg Araki, the teen film adheres to rules as simple as their enjoyment, offering a universal reading grid in the ruthless world of school hallways – and by extension, of life.

Niini, Love, Simon by Greg Berlanti has a note of purpose as clear as it is beautiful: not to revolutionize the genre, nor to fundamentally turn the codes, but simply to offer “another” version of the teen movie. That is, one does not speak of a man or a woman’s struggle to seduce the opposite sex, nor their hope of leaving the ranks of the losers to become popular; but one to talk about a gay teenager trying to claim his identity and find his place. If not shifted to the background behind the main characters, or to the depths of underground teen movies, even if the genre is intended to communicate with as many people as possible.

Simon’s band


Adapted from I, Simon, 16, Homo Sapiens by Becky Albertalli Love, Simon therefore includes all elements of the genre. The voice-over that opens the story, the stereotypical family situation, the streets of a small American town, the school straight from the high school factory of the genre, the big alcoholic party in a house without the parents, not forgetting the inevitable big surreal scenes where the fate of the characters is played out like a theater stage, in front of many extras.

Precisely because the setting remains the same the film achieves its purpose: telling of Simon’s homosexuality not as something extraordinary, pulling him away from conventional standards, but as a way of life. His release is completely replaced by another secret until the climax (extremely melodic) without bothering the mechanics. Here’s where the film is most touching and intelligent: by posing as such a future reference about the matter, for many generations of teenagers, like tons of past teen movies.

Nick Robinson's photo Nick Robinson


Of course, everything is very fast and very efficient. It lacks some darker nuances to give depth to Simon’s journey, which goes from a little teenager to a revolutionary in some scenes. We felt that the tears, the cries and the “fuck” were reduced to a minimum to keep a bright color.

Too much artificial and candy pink, the conclusion shows the desire to impose a moment of pure joy in the great tradition of the genre, when the inevitable and lazy scenes (the crisis with the deceived friends, the confrontations of the parents) proves the limitations of the film, with truly won by facing the slightest violence of his subject and allowing Simon to experience the pain.

Nick Robinson, Jennifer Garner, Josh DuhamelThe family from a brochure for Center Parc

but LOh, Simon almost perfectly working thanks to its performers. Started by Nick Robinson, seen in Jurassic World, and who embodies the simplicity of this teenager like the others. If there was no place to give the true emotional dimension to his journey, he brought to Simon all that was necessary to be weak and normal. In front of her, especially Katherine Langford (13 Reasons Why) and Alexandra Shipp (the new Tornado of X-Men: Apocalypse) who is good, while Logan Miller skillfully wears it half-cool half-nerdy energy in handsome defeat, again the obvious talk of teen movies in the 80s.

With his awesome CV for the superhero lover since his creation The Flash, bow, Supergirl or Legends of Tomorrowin addition to the more passed Dawson and in directing both films, Greg Berlanti reveals here a more intimate and sensitive side. And if his skill is not (yet) in his ambitions, as described in parentheses in the musical comedy, his Love, Simon gentle, touching and importantly worthy of some love.


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