TRAMPS: A Familiar Commute With Charming Leads

Romantic archetypes can often feel tired or overused, but Adam Leon‘s Tramps is a reminder that there are still reasons to love a film that puts two lovable scamps who don’t get along on a road trip. Following his 2012 comedy Gimmie the Loot, Leon tells a story that is both classic and original in small touches.

The Hand-off Gone Wrong

Tramps opens with glimpses of Danny (Calum Turner) around the house, as he does the tallies for old men betting off horse races. Un-subtitled Polish is spoken amidst food, angel figurines, and cigarettes. This scene, which establishes Danny’s daily routine, is abruptly interrupted by a call from Danny’s brother Darren (Michal Vondel) who pressures him into completing a shady hand-off for cash.

Soon after, we’re introduced to Ellie (Grave Van Patten), a girl who’s clearly more than comfortable with petty crime. She’s jumping turnstiles, but also reading on a train as she hides from the conductor. The unlikely pair finally meet when it’s revealed that Ellie’s job is to drive the car and correspond with the bosses for Darren’s job. They exchange barely a word, but when Danny flubs up the job and delivers the mysterious suitcase to the wrong woman (to be fair, a “green purse” is a pretty weak marker), the two are forced together on an epic recovery quest. The catch? Ellie is keeping Danny along so she can take his share of the money at the end.

The likability of Tramps comes in the how lightly the film takes the situations. These are some seriously clumsy criminals. Even the figures that Danny and Ellie are supposed to answer to, played by Mike Birbiglia, Louis Cancelmi and Michale Vondel, don’t feel very threatening. They’re unorganized, sloppy, and the greatest talent most of them have is the ability to improvise.

The plot allows the two leads to interact and grow closer without a shroud of impending danger, avoiding weird tonal shifts. By playing folk music as they embark instead of some orchestral dread, we’re very explicitly told these are charming, feel-good scenes. However, setting the stakes incredibly low results in very little dramatic tension. Will the two get away in time from this situation? Of course they will; this is that kind of movie, after all.

Anyone who knows the squabbles and frustrations of transit and Metro cards will probably appreciate Tramps’ dedication to these conflicts. The film is probably 70% commuting, making it one of the most honest representations of New York life out there. As a result, it’s even more crucial that the characters are engaging. Turner and Van Patten do a fantastic job as two strangers forced together, and the gradual changes from hostile to friendly in their relationship feel believable and natural.

Let the Youngins Be Youngins

A lot of moments require some suspension of belief. It’s difficult to believe that a woman who gets her purse snatched would take a mysterious luggage case to her workplace, and even less likely that she would react the way she does to the situation. Turner and Van Patten are supposed to be dirty scamps, demonstrated by the way they’re treated in a nice neighborhood, but they’re very much Hollywood rogues. They’re definitely clean and well-groomed enough to avoid that, but these plot-holes feel forgivable, considering the movie doesn’t seem to take itself seriously either.

The lack of phones, searching from Westchester to the city, and spontaneous carnival visit – even the premise that forces Ellie to keep Danny nearby – seem like they occur solely so they can go through shenanigans and get to know one another.

When Leon’s script reaches for pointed, overarching dialogue about sadness or growing, we can feel Tramps sliding back into the familiar comedies the characters would themselves mock. Despite the stumbles, Turner and Van Patten deliver their lines with a charm that feels true to the awkward personalities of their young characters trying to hide their insecurities. Lines about how SUV drivers are assholes or high school romances are both hilarious and endearing.

 

More effective that those on-the-nose musings that seem to emerge from nowhere are small interactions that feel like they’re coming from the characters, rather than the film. Moments with Birbiglia, Vondel and Cancelmi or between Margaret Colin and Van Patten present us with different relationships that are challenged or even disintegrate. Conversations explore how feelings can be fleeting or illogical without telling us what they mean or how we should react.

There’s no need for exposition on how they got to the point they’re at – this is especially true for Ellie – but by gesturing at their histories Tramps embraces that ambiguity that exists in real life and gestures towards complex backstories.

Breaking Away From the Rom-Com

The two lovable scamps archetype isn’t especially new, nor is the criminal deal gone wrong. The love story where one character is deceiving the other is another trope that makes up most of the romantic comedy genre, sitting right next to the cuddle-for-survival-and-develop-feelings device. However, Tramps feels aware of this, and small moves to steer away from the beaten path makes important moments feel like a breath of fresh air.

Van Patten is definitely the more intriguing half of the duo, with her changing backstory and criminal saviness mixed in with an enthralling dash of genuine emotion which, in quieter moments, gives this character emotional depth and softness. When staring at a group of women sharing drinks we understand jealousy, resentment, and unspoken conflicts in her life better than any dialogue communicates. Subtle changes in the way she looks at Danny, or the way she lies about her own background make her contradictory, charismatic, and mysterious all at the same time. Turner, as Danny, feels like a perfect complement in his simplicity and lovable goodness.

While you might have the classic chase sequence at the conclusion, the first kiss between the two is awkward, a little weird, and, as a result, feels more genuine than any blockbuster sunset makeout. There aren’t any promises of marriage, staying in the city, or even tangible commitment – just the start of something we’ve been rooting for the entire film.

Conclusion

This film won’t stay in your mind for days after, but it’s a genuine delight. While the film’s place on Netflix instead of theaters was a disappointment for many fans who felt it deserved more, Tramps feels like a perfect movie to put on late at night when you’re looking for something charming and straightforward.

What are some of your favorite romantic comedies? Let us know in the comments below!

Tramps was released on Netflix on April 21st. You can watch it now.