Madeline’ Madeline takes the very individualistic nature of its title and boldly realizes it through POV and metaphor to begin digging around in the perplexing head-space of a teenager. The first words we hear are as follows, “The emotions you are having are not your own, they are someone else’s. You are not the cat. You are inside the cat.” We are in a hospital and then within a feline pawing and purring, followed by a turtle sliding its way out to the ocean into the depths of the sea.
In the midst of the movie, I had an epiphany that I would have difficulty being an actor if the part strayed away from human qualities. Because when I look at animals there is wonderment there but I never feel like I could bring anything to them. I cannot understand or comprehend them.
Likewise, it would be difficult for me to invest in the perspective of a turtle and a cat, not that they are not important but they do not seem to operate, think, and act in the same way that we do as human beings. Because Madeline (Helena Howard) is a character who is playing a part and the metaphor is extended across this entire film. One could say she is playing a version of herself — the version that she perceives and wants to exist as — while others have another version of her that they want.
In playing her part, she willingly sheds her skin and puts on the guise of other creatures and gives herself over to them completely. One of the inherent fascinations in the showing Howard gives is the meta nature of playing the role of someone else playing a role.
So, in theory, we have the layers and the complexities of this whole patchwork of theater people and normal everyday humans playing their parts both real and fabricated based on the world around them. A certain ubiquitous Shakespeare quote is overwrought I know but it is also quite pertinent. “All the world is a stage and the people merely players.” We can break this film down to these more basic components as well.
Madeline’s involvement in her theater troupe not only facilitates this layering of a part on top of a part but it creates a visual dichotomy between the two women in her life who carry weight over her adolescent years. Her nervously concerned mother Regina (Miranda July) is always worried about her behavior, if she’s eating, taking her medicine, being safe about sex — all sorts of things. Her high-strung nature is a result of a daughter she deems to be unpredictable.
Then, there’s Evangeline (Molly Parker) the drama director and empowering free spirit who continually encourages Madeline in her physical expression and touts her in the devotion she gives to the stage. In this carefree communal environment, the girl feels truly herself and at ease with the beings existing around her.
They do some of the familiar improv, turning the story of an incarcerated man into literal expression. They do photo shoots and costume runs with giant pig heads and garish ensembles. When they sit in a circle together sharing their emotions and insights I could not help but feel the portrait epitomized the stereotypical acting experiences seen in a show such as Community. Needless to say, someone like me repressed and stunted as I am, looks on such a showing with a skeptical eye.
In one solitary scene, Evangeline even sits down with Madeline and starts expounding upon the philosophy of Jung. All is chaos in the cosmos. In the disorder, there is an order and the pendulum perpetually swings between sense and nonsense. While not necessarily reassuring, perhaps these words allow us to piece together a certain perspective to see the world. Maybe…
It becomes increasingly apparent — certainly beginning with the opening shot — this is meant to be a very intimate film. The camera hugs Madeline’s face and really provides close-ups for just about everyone while simultaneously blurring the screen artistically with exposure techniques to allow light to constantly seep into the frame. That’s when we’re not literally inside the camera’s viewpoint. Audio is often being funneled to us with dulled or hazed effects as if we are seeing the world through interference and distractions like others do.
At one point the stage performance is about prison and then it is a metaphor and then it morphs against into a piece on mental illness until Evangeline literally turns into a performance of Madeline’s most intimate details thinking they are all part of a character named Zia. Of course, the mask is only Madeline. She becomes a daughter regurgitating the words of her mother — imprinted on her brain — in a very public forum and it becomes a bit too real.
Then, Madeline winds up seeing a different side of Evangeline, not unlike her own mother, and once more we have drolling adults communicating on an altogether different wavelength than the teenagers.
The inevitable happens and Madeline and her troupe create a near funhouse of performance art all overtaken by an idea and rebelling against the forms their fearless leader imparted to them.
There is a unique voice and a vision that is unlike most anything else. But I’m not sure it even knows what it is striving for. There’s not necessarily an issue with this and yet it does lack what we would ascertain to be a central conceit for the rest of the film to orbit around.
If I had not just If I had not just recently seen A Bread Factory I would say this movie existed in a stratosphere totally its own. Regardless, it boasts a wholly original perspective from director Josephine Decker coupled with a mesmerizing performance by Helena Howard.
Whether we know what to make of it or not is up for contention. I still haven’t decided if this point is really worth dwelling on. The onus should not always be on a film to provide answers and if that is the case Madeline’s Madeline is a success because it arguably offers something more valuable — food for thought. For now, I am content ruminating over my multitude of questions.