‘Plainclothes’ Review: A Closeted Cop Is Tempted by the Gay Men He’s Tailing in Steamy ’90s-Set Psychodrama

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Today, gay men can quickly arrange sexual encounters using smartphone apps similar to ordering pizza. However, during the ’90s when “Plainclothes” is set, these meetings had to be organized in person and could potentially lead to arrest. People of a certain age and demographic may recall the danger and anxiety (not forgetting the thrill) from that era, as undercover police officers often watched for indecent behavior in public tearooms. In Carmen Emmi’s debut film, the police go a step further, enticing homosexuals to reveal themselves. This narrative serves as a reminder of how far we’ve progressed since then.

Imagine if the officer under scrutiny was secretive and one of these people gave him their phone number without his knowledge. This intriguing, albeit hard-to-believe, scenario is at the heart of “Plainclothes”. The series features Tom Blyth, known for his role as Billy the Kid in Epix’s show, portraying Lucas, a cop with a second generation background who grapples with numerous identity issues. Despite appearing relatively confident initially, he finds himself undercover at the mall where he is tasked to catch the attention of an interested individual, follow him to the restroom, and then apprehend the supposed “pervert” once they commit an illegal act (in this case, merely exposing themselves).

During the operation, police officers must remain silent to avoid it being seen as entrapment. This works well for Lucas until he encounters Andrew (popular from “Looking”), who invites Lucas into the final restroom stall. All of a sudden, Lucas is hit by a wave of emotions, which Emmi portrays by inserting VHS recordings into the scene – an innovative yet somewhat confusing method to immerse viewers in Lucas’ disjointed mental state.

Rather than apprehending Andrew, Lucas decides to release him instead, obtaining the stranger’s contact information and scheduling a normal date with him later. It was during this period that Lucas began to grapple with the moral implications of arresting men for feelings he himself harbored. Despite his strong desire to keep this aspect of himself concealed from his mother (Maria Dizzia).

1997 was a time when Emmi was still a teenager, the same year “Plainclothes” is set. It’s quite impressive how accurately he manages to recreate the ambiance, as well as the tension and unease, of that era. Cruising in gay areas often relies on subtle signals: a prolonged gaze, a reciprocal look, an obvious adjustment of one’s clothing or accessories. In this film, such behaviors are not as sexually charged as Drew Lint’s “M/M” or comically portrayed as in Tsai Ming-liang’s “Goodbye Dragon Inn”. However, it’s refreshing to see these signals being replicated by a young director who uses strategically placed mirrors above urinals to let the characters’ eyes tell the story.

For Lucas, who’s confided in Amy Forsyth, an ex-girlfriend, about his bi-curious feelings, the internal struggle seems to have reached a point where he’s prepared to investigate his attraction towards men. He has his sights set on Andrew as his first foray into this new experience, and while the situation carries a hint of romance, neither man is able to entertain such a relationship. Lucas, using a false identity, frets about the potential judgment from their neighbors, whereas Andrew presents himself as a married man with children and a prestigious job as an administrator in some field.

Essentially, Lucas needs to meet someone in a public place with the intention of connecting romantically or otherwise, a scenario which puts him in conflict with the laws he’s supposed to uphold. His superior officer (John Bedford Lloyd) highlights an instance where someone engaged in such activity later went on to abuse young girls. Due to this incident, members of the community are urging stricter enforcement, although it seems excessive. Historically, the police have used minimal provocation to target homosexual activity, and as a training video demonstrates, they’ve even installed hidden cameras behind one-way mirrors to discourage such behavior.

Following their unsuccessful attempt at the movie theater, Andrew proposes a visit to a nearby park instead. This setting seems to hint at a ’90s culture of casual encounters, perhaps reminiscent of the rumors surrounding celebrities like George Michael, who was once arrested for solicitation and later exposed for public cruising in London’s Hampstead Heath. The “Undercover” duo, however, seem to find success, engaging in an intimate moment within a public greenhouse before Andrew’s pager interrupts them.

For someone new to this situation, there are many unspoken and written guidelines when it comes to secret relationships between men. Andrew advises Lucas that he seldom meets people more than once, but Lucas disregards these limits. The passionate police officer becomes infatuated, looking up Andrew’s license plate in the police database and then tracking him at work – a risky move on his part, but one that adds dramatic tension since it accidentally reveals the man Lucas thought was his soulmate.

While it’s understandable that Lucas desires a relationship, it’s not suitable to search for one in a restroom. It might seem that small-town Mansfield, Massachusetts lacks gay venues, but perhaps there’s a local bar or, alternatively, a short drive to Boston could offer options. Unfortunately, due to limited exposure, Lucas’ understanding of the gay culture is confined to the bathroom he’s been observing. Back in those days, before Ellen DeGeneres publicly came out in 1997, media was cautious about LGBTQ+ issues, leaving Lucas and his peers without proper representation or information.

While I find Emmi’s innovative and immersive multimedia style captivating at times, the blending of various media formats and timelines can occasionally seem like a deliberate attempt to confuse rather than enlighten. The movie has some significant plot inconsistencies, particularly during the family meal scene in the present tense where Lucas appears to be on the verge of a breakdown. Despite his struggle to keep his secret buried, when Alessandra Ford Balazs threatens to reveal it, Lucas’s reaction feels forced and Erik Vogt-Nilsen’s editing becomes agonizingly intense. As “Plainclothes” reaches its climax, the intensity builds towards a cathartic resolution. However, I can’t help but feel that there’s an element of backward thinking in the shame Lucas carries. Emmi aims to make us share in Lucas’s suffocating feelings, but from my perspective, I just want to tell him: “It will get better!

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2025-01-27 06:47