AKA is the story of a disaffected youth's search for love, status, and identity in late 1970s Britain. 18-year old Dean is handsome and bright, but feels hampered by his working-class ...
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Torsten C. Fischer
Klaus J. Behrendt,
Gabriela Maria Schmeide
AKA is the story of a disaffected youth's search for love, status, and identity in late 1970s Britain. 18-year old Dean is handsome and bright, but feels hampered by his working-class background and by his family. In order to make something of himself, Dean assumes another identity and manages to enter high society. As he navigates this decadent new world, he meets a host of characters, including David, an older gay man who desires him, and Benjamin, a young hustler from Texas who has also managed to find a place among the aristocracy. Can Dean find love while living a lie? How much is he willing to sacrifice in order to pull off his charade? Presented through three simultaneous frames rather than one. Written by
At about 1 hour of the movie, Benjamin woke up to a phone call. It was for Dean. So Dean half sleepy, came out of his room half naked, answered the call. As the camera switched a position, all of sudden, Dean was fully clothed, wearing a yellow turtleneck, fully awaken; while Ben was still wrapped in a towel. See more »
This offering was recently presented on Sundance Channel without much fanfare. I had never heard of it before, in fact. The comparison to "Mr. Ripley" is immediately obvious at about thirty minutes in. If I had not subsequently learned more about evidence of an autobiographical source, I would have judged it a poor copy of the Highsmith novel and film.
Nevertheless, I rather liked it as a whole. The version I saw was limited not so much by any split-screen device as it was by extremely shoddy editing. Great gaps in both story line and character development occur almost from the start, and I was left floundering from time to time until I could infer this or that bit by slogging onward. Had it not been for a great supporting cast I might have switched it off before other redeeming pieces fell into place.
Those better features included an accurate social setting for 1978, some interesting costumes, and one or two experiences of the character played by Matthew Leitch in Paris that approximated some of my own contemporaneous involvements with that city. In other words, I am not able to be completely objective, and will say no more.
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