Queer cinema has been undergoing a rapid change in the last few years, creeping steadily into the mainstream and getting a hell of a lot less dire. It’s far from stabilized, but old expectations about death and punishment have definitively been rejected. Not that a happy ending is expected; in fact, if there is a new standard it’s that queer characters end up brokenhearted, but if you follow the old rules to their bitter end then your film is likely to be labeled as backwards and problematic.
You still can’t go rewriting history, though, so any period queer film needs to avoid being a total bummer while still being true to what was possible in its era. That balance proves particularly hard for Tell It to the Bees, a romance set in very queer-unfriendly 1950s Scotland.
It’s in fact a little unfair to single out the gays in this case. Everyone in this film seems pretty unhappy, be it the men traumatized by war, the women crushed by sexist expectations, or the people of color being marginalized. On the one hand, it’s nice to see the film take a wider look at the period’s faults, but on the other it makes for a pretty dreary watch, one that doesn’t sit well in the current landscape of queer cinema.
An Impure Distillation
As adapted from the book of the same name, the primary story is about the unexpected romance between Lydia (Holliday Grainger) and Jean (Anna Paquin). Jean has returned to take over her father’s medical practice (and bee hobby) upon his death, while struggling to make ends meet after being discarded by her husband. The two women find love and support in each other, and they might have gotten away with it, too, if it weren’t for Jean’s ever-watchful son. On the story’s periphery is a medley of other inhibitions, a few too many, in fact, which leaves the movie straining to fit everything in.
What to cut and what to leave are essential questions for any adaptation, and usually the best route is to keep the thematic points strong while snipping from the plot. Novels have the space for B, C, D, and E subplots, but movies simply don’t. Cutting these, even if they do round out an idea, frees up time for the main story to feel more lived-in. Tell It to the Bees leaves far too many of these subplots in, and because of that it has little time for anything but plot.
Characterization is the most affected by this mistake, as the pace of the main romance goes at a breakneck speed. Jean comes in with some experience in lady loving, but Lydia is so naive that she must be told that Jean’s jumping into a lake wearing a white shirt routine and frequent touching might be signs that there’s some infatuation. Two scenes later and Lydia is ready to make out in the yard, which is an unbelievably fast turn for someone in such a repressed society.
More time to develop their relationship would’ve paid off by naturally bringing up societal barriers, but unfortunately this film decided to lean on an over-explained plot instead of the tragedy.
Failing To Find The Light
Obviously this was never going to be a cheery movie, but it’s important for audiences to have something to root. ‘Is there a takeaway that is worth the pain’ is a question I often ask about unpleasant movies, and it’s one that naturally comes up for tragic romances.
In Tell It to the Bees, our heroes are easy to spot. Lydia and Jean are facing homophobia and sexism (obvious enemies) and their relationship should provide the support they need to overcome this harsh world. That doesn’t necessarily mean that they have to end up together, but they do need to be gaining something from each other. Unfortunately, their already noted lack of characterization prevents them from having a clear goal, so they don’t really offer up anything to root for.
Strong performances could have made up for this, but neither Grainger nor Paquin are quite up to the task of lifting the poor script. A much-needed spark of chemistry is missing, and particularly Paquin fails to bring nuance to her character’s continuously distressed state. At least young Gregor Selkirk as Jean’s son gives a better than expected performance, never hamming it up as so many kid actors do, but it wasn’t enough.
Flawed Comeback For Annabel Jankel
This is the first feature for director Annabel Jankel since 1993’s widely panned Super Mario Bros. You remember, that bonkers live-action take on the video game series? Well, Jankel co-directed that with Rocky Morton (they also created the equally weird Max Headroom character), which would make you think she’d bring a little verve to this period romance.
Alas, that is not the case, as everything about the presentation of Tell It to the Bees is pretty workmanlike. That could partially be due to the rushed production (few people get decent money for period queer films), but the overall lack of inspiration has to lie at Jankel’s feet. Something beyond basic setups and some up close bee shots were needed, particularly to set up the oddball twist that comes late in the film. I won’t get specific, but those waiting for Jankel’s flair for the bizarre will eventually find it. The problem is that it’s such a singular event that it feels entirely out of place, and many people, including myself, will let out a little chuckle. That’s not exactly the reaction Jankel was going for, and it’s not a sign that she’s learned to mete out her weirdness.
Conclusion: Tell It to the Bees
This staid period romance is too dour for its own good, failing to find any silver lining to its tragedy. Its familiarity will leave some outright bored, and a third act twist will drive many more away. With nothing new to say and no new way of saying it, there’s little to recommend in Tell It to the Bees.
What did you think of Tell It to the Bees?
Tell It to the Bees is available now in theaters and online in the US. It will be released in the UK on July 26th, 2019.
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