Cast: Christian Campbell, John Paul Pitoc, Tori Spelling, Stephen Hayes, Clinton Leupp, Lorri Bagley
Director: Jim Fall
Producers: Jim Fall, Eric D'Arbeloff, Ross Katz
Screenplay: Jason Schafer
Cinematography: Terry Stacey
Music: David Friedman
U.S. Distributor: Fine Line Features
Trick is one of the few gay romantic comedies with the potential to be appreciated by a more diverse audience than those who typically explore this niche of the motion picture market. And the film's quintessential appeal is not diminished by the assertion of first-time director Jim Fall that he made the film with the primary intention of appealing to homosexual viewers. There is enough charm and tenderness on the screen that it's virtually impossible not to sympathize with the characters on some level (insert necessary exclusion clause for homophobes here). Unlike many gay-themed motion pictures (and heterosexual ones, for that matter), Trick's central focus isn't sex. Sure, that's what it's superficially about, but it doesn't take much digging to determine that the movie is really concerned with issues of intimacy and commitment - and these will strike a chord with any viewer, regardless of his or her sexuality. That's where Fall's picture works, and the reason why it has crossover potential.
Gabe (Christian "brother of Neve" Campbell) is a would-be Broadway songwriter whose inability to pen believable lyrics can be traced to a lack of experience in meaningful relationships. After meeting Gabe, we are soon introduced to those who inhabit his inner circle of friends and acquaintances. There's his straight roommate, Rich (Brad Beyer), who often makes Gabe sleep in the hall so he can be alone with a girl. His best friend is Katherine (Tori Spelling), who isn't nearly as good a singer/actress as she thinks she is. And his #1 supporter is Perry (Stephen Hayes), a semi-successful member of his desired trade who spends his evenings playing tunes at a New York City piano bar. One night while passing his time at an all-males strip joint, Gabe catches the eye of Mark (John Paul Pitoc), and it's lust at first sight. Later, on the subway, the two meet again and, without preliminaries, Mark ask Gabe if he knows of a place where they can be alone. For the rest of the movie (and the rest of the night), Gabe and Mark undergo a series of comic misadventures as they pursue this goal.
There's a little bit of Martin Scorsese's After Hours in Trick, although the subtext isn't as dark. In fact, this is intended as a light, frothy comedy, and, for the most part, it succeeds in that vein. The film is sly and subtle in the way it toys with our preconceptions. At first, we're expecting a raunchy sex romp. By the end, however, we have gotten something completely different. In fact, those expecting a heavy dose of male nudity and gay sex are going to be disappointed. The only on-screen sex is of the heterosexual variety, and the only nudity occurs when a woman bares her breasts. (This scene is a bit incongruous, but I took it as Fall's attempt to de-mystify the female body.)
The cast is populated by a group of relatively fresh faces. As the lead, Christian Campbell is instantly likable. He slides nicely into the role of a young man who's uncertain about just about everything (relationships, career, living arrangements) except his sexual orientation. His anxieties about his love life are believable, and strike a truer chord than what we normally get in romantic comedies. John Paul Pitoc is solid as the object of his affection - a man of few words who starts out looking for a one night stand and ends up finding something unexpected. The real surprise is Tori Spelling who, stripped bare of the baggage that has followed her throughout her short career, displays poise, comic potential, and a high level of energy in a part that demands a little sensitivity and a lot of wackiness.
Despite not being graphic in its depiction of certain acts, the movie is frank in the way it deals with the characters' sexuality. The dialogue is not brilliant, but it gets the job done. Once in a while, screenwriter Jason Schafer resorts to saccharine platitudes ("Try for the unexpected - it's the only way to get the good stuff"), but, for the most part, he sticks to well-written lines and occasionally hits paydirt ("You can't ask a one night stand to come back tomorrow night!") But the strength of the script is not in what the characters say nor in the way it throws contrived obstacles in their paths. Instead, it's in the believable nature of the central relationship - a key element that many big budget, mainstream romantic comedies lose sight of. This movie gets that trick (and a few others) right.
© 1999 James Berardinelli