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Boy Erased review: Lucas Hedges gives deeply layered and very subtle performance in film about gay conversion

Director Joel Edgerton does not take us anywhere we haven’t been before

Geoffrey Macnab
Wednesday 06 February 2019 17:50 GMT
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Theodore Pellerin as Xavier and Lucas Hedges who plays Jared Eamons
Theodore Pellerin as Xavier and Lucas Hedges who plays Jared Eamons (Focus Features)

Directed: Joel Edgerton. Starring: Lucas Hedges, Nicole Kidman, Joel Edgerton, Russell Crowe, Xavier Dolan, Troye Sivan. Cert 15, 115 mins

Boy Erased has the misfortune to arrive in British cinemas just a few months just a few months after The Miseducation of Cameron Post, which told a very similar story in a very similar way. Both are films about gay conversion therapy and the emotional havoc it wreaks on the young men and women exposed to it. Both films also turn into One Flew over the Cuckoo’s Nest-style cautionary tales about precocious and sensitive individuals rebelling against the institutions in which they find themselves.

The film, based on the memoir by writer and academic Garrard Conley, may reflect the author’s experiences accurately enough but it still makes for downbeat and predictable viewing. On the positive side, Lucas Hedges gives an exceptional performance as Jared Eamons, the teenager undergoing the therapy.

Jared is bright, handsome, good at sports and very popular at his high school in Arkansas. His father, the local preacher, Marshall Eamons (Russell Crowe), is very proud of him. His mother Nancy (Nicole Kidman) dotes on him. He seems the typical all-American high school kid, but when he is on a date with girlfriend he is strangely defensive with her. Then comes a brutal sexual experience at the hands of another male student during his first term at college. Jared is conflicted and confused. When he realises he is attracted to other men, his father takes advice from the elders and quickly packages him off to the Love in Action institute where his homosexuality can be ironed out of him.

Director Joel Edgerton also co-stars as Victor Sykes, the quack who runs the institute. The monstrous headmaster Wackford Squeers in Charles Dickens’s Nicholas Nickleby has nothing on Sykes, a smirking, manipulative bully.

“Fake it till you make it. Become the man you are not,” are the slogans on which Sykes runs Love in Action. He forces the men and women in his charge to draw elaborate family trees, revealing which of their relatives may have been gay or alcoholic or looked at too much pornography. Jared is made to talk about his “very feminine” uncle Vincent.

Sykes is such a grotesque figure that it is baffling why all these Arkansas parents have deposited their kids with him in the first place. He seems to have no scientific qualifications whatsoever. Jared is a day visitor at the institute, and is allowed to spend the nights in a motel with his mother. Sykes makes him and every other patient promise they won’t ever discuss the therapy with their parents.

Hedges plays Jared in a sensitive and nuanced fashion. On the one hand, the boy really does want to win back the respect and affection of his father. On the other, he is appalled by Sykes’s methods, unashamed about his sexuality, and far too bright to take his father’s hellfire and brimstone sermons too seriously. Nicole Kidman gives an affecting performance as his mother, desperate to help him but too in thrall to her husband to question why Jared needs to suffer through the gay conversion therapy. Russell Crowe is very touching as the father who loves his son but can’t overcome his own bigotry.

Everything we expect to happen happens, although it is not clear whether the film – Edgerton’s second feature as a director – is intended as a rites of passage story or an exposé of rogue therapists or a father and son drama. It has some strong elements, most notably Hedges’ deeply layered and very subtle portrayal of the tormented Jared, struggling not just with his sexuality but his religious beliefs and his ideas about family and authority. It is a pity, though, that Boy Erased doesn’t take us anywhere we haven’t been before.

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