As a long-time movie buff with a penchant for documentaries that delve deep into human experiences, I found “Patrice: The Movie” to be a profoundly moving and enlightening film. The story of Patrice Jetter and Garry Wickham, two individuals who defy societal norms while navigating the challenges of living with disabilities, is one that resonated with me on multiple levels.
The appeal of “Patrice: The Movie” is plentiful, but this creative, heartfelt documentary, helmed by Ted Passon, may still provoke anger. Primarily, the frustration would stem from Patrice Jetter, the central figure, and Garry Wickham, her partner, who would likely be married if the Supplemental Security Income (SSI) benefits system were more adaptable to the changing times in the lives – and relationships – of people with disabilities.
Under the “marriage penalty” rule of SSI (Supplemental Security Income), if two individuals who receive benefits get married or live together, they may face a reduction or loss of their benefits. This could result in Gary losing his medical insurance. The rule was established in 1972, at a time when lawmakers didn’t anticipate people with disabilities leading loving, independent lives. It has not been updated since then.
Patrice and Garry crossed paths at work and quickly became friends. Both dealing with physical challenges, Patrice wears a leg brace while Garry navigates life in a wheelchair due to cerebral palsy. Initially, they are depicted as ice-skating companions striving for a position in the Special Olympics.
From the start, Patrice confidently asserts, “I’m an incredibly cool person living with a disability. If something seems enjoyable, I jump right in.” And it’s hard to question this spirited individual who sports long braids and unique fashion choices! Among the activities she enjoys: serving as a crossing guard; constructing model trains for more than two decades; drawing; and of course, spending time with Garry, either at his place or hers. In her home, there’s a miniature amusement park called “P Town” that stands out. His house is adorned with memorabilia from Notre Dame and the New York Giants.
Garry isn’t far off, just 20 minutes away,” Patrice notes in her distinctive gravelly voice. However, the distance feels like a long-distance relationship to her. Following Garry’s disclosure about his parents being bigots, he expresses his exhaustion with people dictating who he can and cannot live his life with. Despite their racial difference, being an interracial couple is not explicitly mentioned in the conversation.
Despite potential complications, the two decide to conduct a commitment ceremony, as they are both on small, limited incomes. They understand that their celebration must be self-organized due to financial constraints. Already struggling to make the event happen, the breakdown of Patrice’s vehicle further threatens their economic stability.
Skillfully, Passon integrates the legal obstacles and legislative hurdles into the daily, weekly, and monthly struggles that Patrice, Garry, and others encounter. We accompany the couple and their friend, Elizabeth Dicker, as they participate in protests, seek advice from disability rights attorneys, and sit down with Congressman Jimmy Panetta, the sponsor of the Marriage Equality for Disabled Adults Act, for a meeting.
In the movie, it’s Dicker, who deals with sensory issues, who comes close to stealing the spotlight from the main characters. When she starts walking restlessly and moving her hands rapidly, she informs the director that these movements are often misunderstood as signs of distress, but for her, they’re a way of relaxing. Managing the “Cans for a Van” project is no trivial task for Dicker. The cans make noise, they have an unpleasant odor, and dealing with them can be overwhelming, but she perseveres.
As a devoted fan, I must say that while the movie doesn’t explicitly label Patrice’s background, it becomes evident that she’s faced challenges due to her history of institutionalization. This stems from an inconsistent support system during her upbringing. The weight of generational trauma is palpable in the narrative. A poignant quote hanging on the wall in Patrice’s home, attributed to Abraham Lincoln, beautifully summarizes her perspective: “The most powerful way to imagine your future is by shaping it yourself.
The film achieves its objective in an unusual manner, even subverting it at times. A possible summary for the documentary’s unique and heart-wrenching approach could be: “The most effective method to recall past traumas is by reenacting them.” Throughout the movie, various vignettes feature Patrice playing her younger self alongside a large ensemble of child actors (over 100, some with disabilities), who represent people from Patrice’s past in scenes depicting numerous instances where she was rejected (both intentionally and unintentionally) by individuals and institutions. Notably, Milanni Mines delivers a remarkable performance as Lee Jetter, Patrice’s stern and frustrated mother, donning a wig and glasses for the role.
Documentaries are now posing thoughtful questions and showcasing individuals with disabilities in a vibrant, clever manner, occasionally displaying their anger and imperfections as well. This evolution is not unexpected, given that filmmakers and creatives with disabilities have been driving this change. For instance, Reid Davenport’s “I Didn’t See You There” offers a unique perspective from a wheelchair, while James LeBrecht, an executive producer on “Patrice,” was both co-director and more than just a supporting actor in “Crip Camp.” This groundbreaking documentary, directed by him and Nicole Newnham, highlights the people who fought for and won the Americans with Disabilities Act.
Patrice deliberately avoids being labeled as “inspiration porn,” which often portrays individuals with disabilities as objects of admiration without any real substance. However, the film’s protagonist, along with her companion and supportive group, do indeed inspire – on their own merits, not because of their disability.
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2024-12-19 02:17