SOMETHING LIKE SUMMER: Rain & Shine In This Mixed Bag

My goodness, Something Like Summer is a mixed bag. David Berry’s drama-musical-romance skates between genres as frequently as its characters blurt out the exact thing they are trying to keep a secret. It is as warming and endearing as it is frustrating and thin, as well-meaning as it is sometimes poorly executed. It is a concoction of things that work and things that do not, making it quite the schismatic experience.

Something Like Summer, adapted from Jay Bell‘s collection of books telling the same story from differing perspectives and intertwining where appropriate, focuses on Benjamin Bentley and his sudden infatuation with Tim Wyman. While Bentley is an openly gay 17-year-old, newcomer Wyman is less expressive with his sexual orientation; the film traces the tumultuous relationship of the pair, secret high school sweethearts whose bond grows more complicated the older they become. When the film is not exploring themes like identity and acceptance, it is (rather unexpectedly to begin with) bursting into song and dance. To say I am unsure about Something Like Summer is putting it lightly.

Straight out of the gate, it is clear that Something Like Summer is in sturdy hands: while this operates as David Berry’s directorial debut (after a career more typically rooted in camera operation and cinematography), it is an accomplished piece of filmmaking that suggests a fruitful career ahead of him. It is abundantly clear that he has learned every step of the way through his varying roles on films sets, helming the film to great effect and with confidence because of that wide-reaching experience. Colours pop and palettes burst with excitement, providing an exciting and impressive film from a visual standpoint.

A schismatic experience

Because of Berry‘s talent, Something Like Summer is elevated above the supposed trappings of an indie release; it feels wider in scope and richer in texture but maintains the intimacy associated with independent releases, something that so often enables them to excel and exceed. Musical cues and tight camerawork allow him to dance around the characters, in a suitably euphoric, longing, or devastating manner. In all honesty, Berry anchors the film and it is clear his heart and soul has been placed in the project.

A variety of lead and supporting performances are on offer here, with surprisingly mixed results. Davi Santos delivers the strongest performance of the bunch, playing the once confident Tim and his cracking facade admirably – it is a fine line to balance but Santos has more than enough talent to ensure it works and is carefully balanced. Grant Davis is a promising actor but the character never really comes to life beyond a handful of stereotypes and magnified archetypes, while Ben Baur, the most prolific out of the central threesome, is handed little of any reward. The dynamic in exploration between the three is an interesting and intriguing one, dissecting the questions as to whether you can be truly friends with an ex –  but the characters (aside from Tim/Davi, arguably) limits the actors attempting to enliven them.

Our supporting players – Ajiona Alexus of 13 Reasons Why fame, Jana Lee Hamblin and Ron Boyd – are similarly provided a disservice; they are simply a necessity to serve the main conflict and are never built or developed in their own way. It is frustrating to see their individual talents wasted somewhat, particularly given the film’s substantial 115 minute run-time.

In essence, and as you have probably sensed, the majority of the faults rest within the script adaptation. While I cannot fairly pass comment on the source material, it appears a great difficulty has been experienced translating Jay Bell’s words onto the screen; Carlos Pedraza’s script drops my biggest pet-hate within the first few minutes alone – characters who blurt out the exact thing they (apparently) try so desperately to conceal.

It is a well-worn, clumsy, and inexplicably frustrating convention that undermines the narrative, carelessly chucking in get-out-of-jail cards to advance the plot in a cheap and exasperating way. For this to happen so quickly into the film immediately put me on edge, fearful that we would play this same old game at every turn heading forward.

Mixed success

Thankfully, as we head into the second half, these get-out-of-jail cards are used a little less frequently, but do crop up at the most irritating opportunities. I’d go as far as to suggest that this is beyond Pedraza’s control, potentially a fundamental structure and advancement in the original material – but because he is in charge of the writing and translation, some blame must lay at his door.

Furthermore, and as briefly mentioned, there are some clear difficulties in building characters. It appears, perhaps wrongly but present nonetheless, that there is an expectation in place that audiences are familiar with Bell’s story, which acts as a detriment for those with a more limited (or non-existent) understanding and/or background. To assume audiences are even aware of the film’s origins is a mistake that Something Like Summer makes and never truly shakes, occasionally taking audiences for granted and possibly limiting its reach for passing viewers.

What Pedraza struggles to do with character and narrative he skilfully makes up for with the injection of Something Like Summer’s themes. The picture tremendously explores the meaning and influence of identity over the way you live your life – and crucially, how you love – with a clear and admirable focus on the gay community.

It never heavily victimises its characters (a trend too often seen in LGBTQ+ cinema) but considers the everyday difficulties they face in a factual, to-the-point manner. Where most would be tempted to escalate these problems, Pedraza keeps them personal to the characters but relatable for wider audiences and those experiencing similar situations. It is proof that Pedraza has the talent as a writer, even if the rest of the story is not executed with the same level of sophistication.

While the incorporation of music may throw audiences to begin with (I admittedly was not quite prepared for a song and dance in the opening sequence), it becomes something sincere and sweet as the film progresses. Summer develops a rhythm and momentum that carries it through in a charming, if sanguine way. While the lyrics are as on-the-nose as you expect, it does not detract too strongly from the delight of the performances and set pieces.

Timing is a slight issue with Something Like Summer. At nearly two hours and with many supporting characters and cast wasted, the film does not seem to be or do enough to warrant the substantial run-time. A clearer and tighter film exists somewhere within the 90-100 minute range, with the majority of the excess time collating around the middle act. We do seem to go considerable periods without a natural development, bogging it down somewhat and frustrating further when the next ‘easy escape’ is called upon.

In Conclusion: Something Like Summer

On balance, there is more to like in Something Like Summer than dislike but it doesn’t make it easy: for the most part it feels sincere, wears its heart on its sleeve and considers some profound thematic material – but its issue with plot developments and characters drag it down considerably. Berry‘s direction is a blessing, as is Pedraza‘s talent in infusing the themes into the fold, even if he lacks the sophistication elsewhere. Something Like Summer is worth a watch and, despite clocking in on the slightly long side, includes just about enough to be recommended.

Like a typical summer, Something Like Summer features enough sunny spots to be enjoyed, even if the odd spot of rain causes a surprising amount of bother.

Do you think it is important to read the source material before watching a film? Should it make a difference?

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