As a seasoned movie buff with over three decades of film-watching under my belt, I must say that Rebel Wilson‘s directorial debut, “The Deb,” is a refreshingly rowdy and hilarious addition to the coming-of-age genre. The film masterfully satirizes small-town Australia while poking fun at progressive values and old-school pageantry.
According to custom, debutante balls serve as an introduction of young women into refined society. However, in the unconventional directorial debut of Australian comedian Rebel Wilson, “The Deb,” there’s little that reflects “refined society.” The characters portrayed by Wilson range from rude to bluntly offensive, with none more so than the crass small-town beautician Wilson plays in a bold, John Waters-like musical satire. This production takes place at the intersection of overzealous modern values and traditional pageantry, which is particularly patriarchal in nature.
It’s unfortunate that the closing-night premiere of the film at the Toronto Film Festival is overshadowed by legal issues between Wilson and three of her producers. Despite this, “The Deb” proves to be a standout, satirizing all parties while modernizing the conventions of teenage romance for the 21st century. The style of the project can be likened to a blend of “Hairspray” and “High School Musical.” From the get-go, the catchy, inappropriate opening number, “FML,” establishes a rhythm that permeates the rest of the film, with lyrics that are not typically found in Broadway shows.
In a remote rural town where time seems to stand still, “The Deb” offers a modern twist on the ancient tale of “the town mouse and the country mouse.” When her recent school demonstration results in expulsion, city-dweller Maeve Barker, known for her strong stance against intolerance (often referred to as a ‘cancel pig’), is sent to live in the sleepy, uninspiring town of Dunburn.
In a rural setting, Maeve finds herself surrounded by Taylah Simpkins (Natalie Abbott), an individual often shunned by society. This girl is frequently targeted by the popular trio – Annabelle (Stevie Jean), Danielle (Brianna Bishop) and Chantelle (Karis Oka), who call themselves the “Pixie Cups.” These three are always impeccably dressed for social media and seem to have little in common with Maeve, who appears more aligned with them than her less image-conscious cousin. However, Maeve shows empathy towards Taylah when others attempt to embarrass her.
The Dunburn Debutante Ball is fast approaching, and Taylah, much like girls brought up on Disney fairy tales waiting for their prince, finds herself struggling to find a date. To add to her troubles, Maeve catches the eye of Dusty (Costa D’Angelo), whose style resembles that of a “Rebel Without a Cause,” hinting that Dunburn might not be as isolated culturally as one might think, even knowing about Timothée Chalamet.
Previously, Maeve expressed, “I believe I could be the voice of feminism for my generation,” brushing off any display of chivalry with a terse, “Why do you assume based on my sex or how I express my gender?” The system operates on a format where girls ask boys, and after Dusty agrees to her (unintended but not unwanted) invitation, Maeve finds only two things troubling: finding someone to accompany Taylah, and standing together against the Pixie Cups. That, and maintaining unity against the Pixie Cups.
The trio of these sly foxes view the occasion as an opportunity to kickstart their careers as influencers; they’re driven by the ambitious stage mother, Janette (Wilson), who manages a salon named Curl Up N Dye from her garage. With her flamboyant attire (boots, feather boas, and denim skirt ensembles) and catchy tune (“It’s time to get unrefined”), Wilson threatens to overshadow the movie. Yet, she’s undeniably the most entertaining aspect on-screen: a distasteful saboteur intent on undermining Maeve. However, it’s worth noting that she consistently delivers the funniest performances.
For American viewers accustomed to Wilson’s scene-stealing performances in “Bridesmaids” and “Pitch Perfect,” “The Deb” could be perceived as a grand unveiling for Wilson, offering an opportunity to showcase her diverse talents, both comedic and creative, in a fresh perspective. Conversely, Australians may already recognize this aspect of Wilson, given her career’s Australian origin, which gained momentum with the 2008 musical sitcom “Bogan Pride.
The screenplay acknowledgement is for Hannah Reilly and Meg Washington, who penned the original stage musical that “The Deb” is based on. Their lyrics are witty and modern, yet this production truly resonates with Wilson’s style. Her approach combines honesty with risqué, inappropriate humor to soften messages of empowerment that could otherwise appear too conventional. Interestingly, it succeeds: The audience doesn’t feel lectured when Wilson boasts about giving her special “back, crack and sack wax” to Hugh Jackman (or displays the hairy proof).
Janette is quite different from Shane Jacobson’s character, Taylah’s grounded father, who is a widowed farmer and a considerate mayor struggling to gather funds to help their community during a drought. He doesn’t fully grasp the significance of the event for Taylah, but seeks guidance from a stern seamstress (played by Tara Morice in “Strictly Ballroom”), who regretted not pursuing her passion in high school and now creates extravagant gowns for young people.
Since her significant weight loss in 2020, Wilson hasn’t been seen too often. However, this physical transformation adds an extra layer of intensity to her current role. Interestingly, despite her own transformation, she continues to champion diverse body types in the casting of this group, notably with Abbott, who was the lead in a touring production of “Muriel’s Wedding the Musical”. In this series, Abbott’s character, Taylah, mirrors Ricki Lake’s role in “Hairspray”: Both characters remain unstoppably cheerful, defying their peers’ attempts to belittle them.
In the movie, Taylah appears so innocent that it’s challenging to accept a questionable plot twist near the halfway point, when Janette manages to create tension between the cousins. However, the film has numerous characters requiring understanding. The challenge lies in altering their perspectives while still maintaining authenticity – providing insight and bursting that bubble simultaneously.
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2024-09-15 03:47