Cast: Natasha Lyonne, Clea DuVall, Cathy Moriarty, RuPaul Charles, Melanie Lynskey, Douglas Spain, Kip Pardue, Dante Basco, Katharine Towne
Director: Jamie Babbit
Producers: Leanna Creel, Andrea Sperling
Screenplay: Brian Wayne Peterson , based on a story by Jamie Babbit
Cinematography: Jules Labarthe
Music: Pat Irwin
U.S. Distributor: Lions Gate Films
The chasm between what But I'm a Cheerleader wants to be and what it is, isn't large, but it is significant. Director/writer Jamie Babbit obviously intended for her film to be a pointed satire of gay deprogramming clinics, and, for about 30 minutes, the movie moves smoothly along that course. Then the "beat the dead horse" syndrome sets in - But I'm a Cheerleader loses its comic momentum, becomes annoyingly repetitive, and, at times, drags interminably. The only things that save the second half of the film are an earnest performance by Natasha Lyonne and a sweet, amiable romance between Lyonne's character, Megan, and a crude tomboy, Graham (Clea DuVall).
As the film begins, Megan is an all-American girl living a seemingly-perfect life. She's a cheerleader, gets good grades, and is the girlfriend of one of the hunkiest guys on the football team. Only she doesn't like it when he kisses her. And her eyes linger a little too long on the breasts and buttocks of her female friends. So, recognizing these and other signs (like her vegetarianism and a Melissa Etheridge poster) as danger signals, Megan's parents call in True Directions - a five step program guaranteed to nip adolescent homosexuality in the bud. Once enrolled in the "homosexual rehab center" under the stern gaze of True Directions' founder, Mary (Cathy Moriarty), Megan goes through the motions of admitting her homosexuality, red-discovering her gender identity, engaging in family therapy, and demystifying the opposite sex - all before finally recognizing that she's in love with one of the other enrollees, and that her affections are returned.
For the most part, the least enjoyable aspect of But I'm a Cheerleader is the plodding plot, which probably would have breezed along more effectively with about a third of its length stripped away. (Of course, at that length, no distributor would have bought the movie.) The movie contains a few flares of inspiration - such as taking RuPaul out of drag and turning him into a reforming gay man who's motto is "straight is great", throwing in a cameo by Julie Delpy as a "lipstick lesbian", and doing a simulated show-and-tell sex ed class.
One of the film's saving graces is Natasha Lyonne's performance. Lyonne, whose relatively short resume is stocked with both offbeat (The Slums of Beverly Hills) and mainstream (American Pie) titles, uses a naturalistic approach to acting. Even in a satire like this, her character comes across as entirely believable. She never overplays the part, and doesn't succumb to the temptation to sink into unrelieved campiness (a quality embraced wholeheartedly by many of the film's other participants, especially Cathy Moriarty). Lyonne is effectively matched by Clea DuVall (Girl, Interrupted), who also plays things mostly straight. The actress seems at home portraying the sullen, antisocial Graham. The chemistry between Lyonne and DuVall is understated but tangible, allowing us to accept the tentative, naïve nature of their characters' relationship.
Another standout feature of But I'm a Cheerleader is the Rachel Kamerman's production design, which makes effective use of color (especially pastels and pinks) to establish tone. Kemerman's work here immediately brings to mind thoughts of John Waters at his most visually inventive. Unfortunately, the same kudos can not be heaped upon Pat Irwin's music, which relies overmuch on a feel-good, playful melody that quickly becomes tiresome.
Admittedly, it's not easy to do this kind of satire. Lampoons of deprogramming have often met with failure, as viewers of recent films like DROP Squad and Holy Smoke will attest. And, while But I'm a Cheerleader isn't a complete failure, it's elements other than the satirical ones that keep it from flopping. Parodies are supposed to be either funny or vicious, and this one doesn't succeed in either arena. Late in 1999 and early in 2000, while it was on the festival circuit, But I'm a Cheerleader frequently played midnight screenings. This is probably the right time to see the film, when capping off a full schedule with a late night feature encourages the mind to be more generous with something light and silly. Seen during the cold light of day, however, But I'm a Cheerleader exhibits a few too many flaws to succeed at its intended goals.
© 2000 James Berardinelli