Written by Amanda Kramer and Noel David Taylor
Directed by Amanda Kramer
Starring Andrea Riseborough, Harry Melling, Demi Moore and Karl Glusman
Running time 1 hour and 35 minutes
In theaters Friday

by Rosalie Kicks, Editor in Chief and Old Sport

“I am getting real nervous about the YOU that is coming…”

As I age, the idea of gender within our societal construct becomes more irrelevant.

Those that ponder questions such as: “What makes a man a man?” or “What does it take to be a woman?” should expect to receive a plethora of responses. In fact, I would go as far to say that inquiries such as these are completely preposterous. The idea of having two options to define an existence is absurd and, since I am pontificating, is really just a way to make another individual comfortable (or uncomfortable). Of course, as a person that does not particularly like attention, when asked, I inform individuals that I self-identify as a woman and use the pronouns she/her. I have to ask though, what does that even mean? In reality I identify as Rosalie Kicks. Simply put, I am a person that has a vagina that is a free-wheeling, dabbling vamp that doesn’t put up with malarkey. For me, I am an individual first, and gender is not really top of mind.

When thinking in particular about American culture, it is quite fascinating how organs, specifically our sexual parts, predetermine one’s fate and even equate to a particular shade of color (ie pink for girls, blue for boys). It truly is ridiculous and downright perplexing to me how we have ended up there. I say all this before getting to the film at hand, because the way in which Amanda Kramer’s Please Baby Please tears down these established ideals is the reason I adore the motion picture so much.

Upon witnessing a greaser gang outside of their apartment assaulting someone, newlyweds Suze (Andrea Riseborough) and Arthur (Harry Melling) find themselves captivated by the rabble rousers. This particular event awakens each of them and takes them down their own personal path in regards to their gender sexual identities. They begin to question their placement within society and start to break down the walls of specific gender standards. Suze takes on a more domineering personality and starts, in essence, to throw her weight around in situations. While Arthur can’t help but fantasize about one of the main gang members, Teddy (Karl Glusman).

Initially the couple starts to show concern for these novel thoughts and curiosities but eventually, come to terms with their newly found feelings. Something the director manages extremely well in this representation is the duo’s hesitation of their metamorphosis. Their concerns lie more with those around them and the people they know rather than with one another. There is a discussion that Suze and Arthur have about evolving and the idea that over time, in any relationship, individuals develop, rarely staying the same from their initial contact. After just celebrating 14 years of marriage this past Tuesday, I most definitely could not agree more. The way in which I love my partner in crime is vastly different than the way from when we first met. We are no longer the same people and in many ways that is for the better for both of us.

The overall colorful, campy production design and style of this film adds to the surrealism of the story. There is no definitive time of when this is taking place and in many ways it does not particularly matter. Much like a David Lynch or John Waters film, all of that is secondary to their main directive: to provoke the audience to feel something. It can’t go without saying that, along with the overall look and feel of the flick, it is carried by an amazing ensemble of players. Most notably Andrea Riseborough, who I feel is one of the most interesting actors working today. She is someone I would watch something blindly for. I now also have Karl Glusman on my radar, especially after seeing his performance in the 2022 Hitchcockian style thriller, Watcher.

Please Baby Please, makes use of the neon lights and misty streets as a way to lure the viewer in and ultimately listen to the message it is attempting to convey. An idea that one should not be afraid to explore the unknown and to question the status quo. It should not be a question of whether a person is “allowed” to act or be a certain way, instead they should simply exist as their true self.

You can read what my MovieJawn colleague, Victoria Potenza thought of this flick here, as part of her coverage from North Bend film Festival.