The official student newspaper of University of Wisconsin-Eau Claire since 1923.

The Spectator

The official student newspaper of University of Wisconsin-Eau Claire since 1923.

The Spectator

The official student newspaper of University of Wisconsin-Eau Claire since 1923.

The Spectator

In review: C.R.A.Z.Y.

It is rare to find a movie that can make a viewer who didn’t go through a certain life experience feel as though they had. With “C.R.A.Z.Y.,” the film deals a lot with sibling rivalry, as the main character is the fourth out of five brothers. Having grown up with an older sister and never experiencing a rivalry with her, it was amazing to see the lengths the film went to in order to get the viewer to relate to the main character’s situation and to feel as though they were in his shoes. Of course, after seeing the film you can’t say that you know what it would feel like to be the fourth out of five brothers. But the film gives the viewer a pretty good idea.

The main character in the film is Zachary Beaulieu, who is played by two different actors who take on different points in the character’s life. We see him at age six, eight, 15 and 21. The transition between each age is a strong suit for the film, as it provides enough information through the connecting scenes to indicate we haven’t missed much. The character hasn’t changed, rather those around him have. As much of a coming of age story the film is, it also focuses a lot on being true to one’s self over time. This message likely would have been lost using any other method of transitions.

Along with the sibling rivalry is the acceptance issues Zachary has when dealing with his father. Gervais Beaulieu, played by Michel Cote, is as hard a man as they come. A chain smoking, slick haired man with a passion for washing his car, Gervais is more focused on making sure his sons are accepted by society and do not become outcasts. His parenting style appears to be that anything he does is acceptable as long as his children don’t turn into homosexuals. This becomes a problem for Zachary early on in life when he develops interests his father deems as things only women should do.

One of the best things the film has going for it is how much it sticks to its principles and doesn’t sell itself or its characters out. Never does Zachary’s sexual orientation become the focus of the film, whether he is or isn’t a homosexual. Often times when a character’s sexual preference is in question, the film does more to draw attention to which way they may be leaning as to not leave the viewer in limbo. But with “C.R.A.Z.Y.,” the film takes an approach that others really should. Sexual preference is not at all a large part of Zachary’s life, so why should it be a focal point of the movie? Sure, his dad wonders, but the viewer is more concerned with their relationship evolving as opposed to the father discovering what sexual preference his son has and taking action as a result.

The acting in the film is superb, which with a cast of relative unknowns, can be attributed to having a very well written and realistic script. For its writer, Jean-Marc Vallee, it took a reported 10 years to write. This definitely shows and the viewer ultimately reaps the benefits. It doesn’t suffer from clichés, nor does it ever feel hurried or as though something in it is pointless. It is purposeful and to the point, something unexpected from a movie dealing with so many issues relating to the main character.

Story continues below advertisement

“C.R.A.Z.Y.” is by no means a perfect movie, but it by far excels beyond what a lot of movies do when they try to recreate life situations and deal with so many tough issues. But the film finds a great way to balance it all out, respect its characters and the viewer, along with keeping things moving and entertaining. Because of its subject matter it may not be an enjoyable time, but it is a unique and worthwhile one none the less.

Leave a Comment
More to Discover

Comments (0)

The Spectator intends for this area to be used to foster healthy, thought-provoking discussion. Comments are expected to adhere to our standards and to be respectful and constructive. As such, we do not permit the use of profanity, foul language, personal attacks or the use of language that might be interpreted as libelous. The Spectator does not allow anonymous comments and requires a valid email address. The email address will not be displayed but will be used to confirm your comments.
All The Spectator Picks Reader Picks Sort: Newest

Your email address will not be published. Required fields are marked *

Activate Search
In review: C.R.A.Z.Y.