Cast: Meredith Scott Lynn, Michele Pawk, Steven Stahl, Lazaro Perez, James Spencer Thierree
Director: Sergio M. Castilla
Producer: Andrew Louca
Screenplay: Sergio M. Castilla
Cinematography: Irek Hartowicz
Music: Ana Araiz
The Girl in the Watermelon is as unusual as might be expected from something with that title. The story it tells, while simple in nature, is far from the ordinary, and the method of presentation varies from playful to pretentious. This film consciously attempts to be as much art as entertainment, occasionally to its detriment. Generally, I don't mind abstract symbols and plot quirks, as long as they blend into, rather than distract from, the movie at hand. This is not always the case with The Girl in the Watermelon. There are times when this motion picture wallows in its own weirdness.
The story takes place in New York, centering around 17-year old Samantha (Meredith Scott Lynn), who is suffering through an identity crisis. At the moment, she's not getting along with her mother, Dianne (Michele Pawk). There are a lot of things the two don't agree on, especially Dianne's choice for a new husband. Sam's dissatisfaction leads her to discover evidence in her mother's bedroom safe which puts her paternity in question. So, armed with a pair of names and addresses, she writes letters to the two men she suspects to be her father: the energetic Latino, Eddie Alvarez (Lazaro Perez), and the wealthy gay art dealer, Robert Wilbarth (Steven Stahl).
The scenes which depict Sam getting to know her two "fathers" are warm, funny, and exceptionally well-presented, with equal credit going to writer/director Sergio M. Castilla (whose only other feature was Gentile Alouette) and his cast. These, like numerous other character and relationship-building sequences, are handled with a real insight into human nature and a recognition of how to get that across to the audience.
There isn't a dislikable character in this movie, which limits the potential for traditional conflict. There are a several misunderstandings, and the typical mother/daughter tension one might expect under these circumstances, but nothing traumatic. The Girl in the Watermelon wants its audience to have a pleasant time, and every element of the picture works towards these ends. The colors are bright and the cinematography crisp.
Occasionally the film gets too obviously artsy, especially in the dream sequences (one of which explains the title). These have the look of being directed by someone just out of film school. Also, it's difficult to identify with the character of Matt (James Spencer Thierree), a would-be boyfriend of Sam's who wanders around with a giant plastic water tank strapped to his back.
The ending is not wholly satisfying. The core theme is brought into focus, but nearly suffocated by the reek of too much good will. There's a mystery left unsolved, although after the whole story has been told, it doesn't seem to matter much. Ultimately, however, for a film that takes so many chances along the way, such a neat conclusion feels a little like a cheat.
The acting, done mostly by little-known or unknown actors, is marvelous. Meredith Scott Lynn, occasionally looking and sounding like a teenage Kristy McNichol, brings vitality and energy to Samantha. The girl connects with the audience, a crucial factor in giving her crisis a sense of immediacy. Scott Lynn's scenes with Michele Pawk seethe with an acrimony that captures the love/hate relationship of mothers and daughters everywhere.
Although not intended for mass consumption, The Girl in the Watermelon has something to offer those who are a little more adventurous in their cinematic choices, and who are likely to enjoy something off the well-trodden path.
© 1994 James Berardinelli