Me and Earl and the Dying Girl

**Spoiler Alert**

Director: Alfonso Gomez-Rejon/Starring: Thomas Mann, RJ Cyler, Olivia Cooke, Connie Britton, Nick Offerman, Molly Shannon and John Bernthal

Director Alfonso Gomez-Rejon's Me and Earl and the Dying Girl, based on a novel by the same name by screenwriter Jesse Andrews, is an uneven effort, unfortunately. Original in some moments, it is less so in others. When it goes right, it's very right and when it doesn't, it doesn't exactly stumble but it doesn't step gracefully either. Its poignance and power arrives late in the third act, while the first half of the film is a mosaic of hit and miss moments.

The story begins as any teen-angsty, independent film might, as Greg (Thomas Mann, in a career-elevating role), the film's unreliable narrator and main subject, tells us in voice-over about his senior year of high school, which was also the worst year of his life. But Greg isn't always a suspect narrator, for his self-assessments can be objective, as when he talks about where he fits in the high school social hierarchy. Belonging to none of the cliques we recognize from personal experience: jocks, drama geeks, etc., Greg informs us he has survived high school by gaining acceptance by all the various factions. But though he maintains some kind of detente with the myriad social groups, he is also is a loner; though partly by design.

Greg's mother (Connie Britton), informs him one day that his classmate, Rachel, has been diagnosed with Leukemia. She suggests (coerces is more like it) he visit her, hoping comfort by a classmate might do her some good. Greg protests, pleading mutual non-acquaintance, but he goes anyway.

The initial meeting is less than auspicious. Greg insensitively and callously tells a puzzled Rachel (Olivia Cooke) that his mother put him up to it, which only makes an already awkward situation unpleasant. But Greg's offbeat sense of humor and shaggy charm nevertheless rates him a visit to her room. Casual conversation leads them eventually to the subject of her illness. The two share a laugh about how best to respond to people who make platitudinous comments about her Leukemia. As the two begin to warm to one another, Greg tells us in voice-over narration that the audience should not expect the story to veer into a passionate romance, as it's "not that kind of story." And as Greg begins to visit Rachel on what seems like a daily basis, she meets his friend Earl (a very funny RJ Cyler). Since Earl has known him since childhood (seen in flashback), he tells Rachel that he is the closest thing Greg has to a friend. Earl tells Rachel that his quasi-friendship with Greg is mainly a collaboration. Greg explains how he and Earl make short movies that are essentially re-imaginings of classic films, which are also ridiculously retitled. One example is Midnight Cowboy, which in Greg and Earl's version is 2:48 Cowboy. The films are self-consciously silly and though they never let anyone view them, they make a special dispensation for Rachel.

In more voice-over, we learn that Earl lives in the more economically-stressed part of town, while Greg's neighborhood is decidedly middle-class.

Unable to sit in the school cafeteria for lunch, with its rigid, social caste system, Greg and Earl occupy their history teacher's office to watch movies. Their teacher; Mr. McCarthy (Jon Bernthal) is the kind of teacher who exists only in movies; heavily tattooed and hip, he is a source of wisdom and forbearance for the young men.

Though Greg tells us in his narration that Rachel will survive, we become more skeptical as the film progresses. Rachel's chemo-induced hair-loss and her protracted stay at home and the hospital provide ample doubt. As Greg's visits become regular, he begins to neglect his school studies, in spite of his acceptance to Penn State.

What does Rachel's condition mean to Greg, whose self and self-loathing seem to occupy his mind the most? Others begin to call him on his behavior, including Rachel, who sees Greg's visits and his application to Penn State as two instances where his actions are forced upon him by others rather than being self-determined. Earl takes him to task for treating Rachel like a burden while Greg's school crush Madison (Katherine C. Hughes), urges him forcefully to make a film for Rachel; a kind of tribute from family, friends and students.

As Earl and Greg interview people for the film, they find the responses are obliviously insensitive and appallingly trite.

After a brief period of not-seeing Rachel, Greg visits her at the hospital on prom-night, in a tux, where he sets up a projector for her to see the film he and Earl have made for her. Everything in the film builds to this moment, as Rachel's condition suddenly becomes dire as Greg's film plays on the hospital room wall. While the hospital staff react desperately to Rachel's physical emergency, she reacts powerfully to Greg's mesmerizing and beautiful film.

Based on the trailer, one might expect Gomez-Rejon's film to be an upbeat, offbeat comedy but the grave second half of the story attains a searing poignancy.

Though we're supposed to notice Greg's character arc, the film fails to show it. In the end, we hear Rachel in voice-over speak of Greg's self-sacrifice and his numerous virtues though I had a hard time accepting her word. He does show genuine compassion for Rachel at times but for the most part, his egoism shows a frightful consistency.

As mentioned earlier, Gomez-Rejon's camera work was quite imaginative. The hallways, Mr. McCarthy's office and the cafeteria are shot (and designed) to appear as very narrow, constricting spaces while a wide-angle lens gives Rachel's room almost exaggerated, expansive proportions.

I particularly enjoyed Olivia Cooke's and RJ Cyler's performances. Cooke didn't play Rachel as an object of pity or of graceful suffering but as someone who sees her terminal illness as an a kind of annoyance. Cyler says little but he is often quite funny and his scene where his confronted by Greg is quite moving. I would have liked to know more about their characters but like everyone else in the film; they were merely planetoids in the universe called Greg.

Why is Greg the main character in this story? Why don't we know more about Rachel, whose inner life makes an appearance late in the film, when Greg wanders among her possessions in her bedroom? In the end, it is she who shows a more selfless side and is everything Greg should be.

I found the endless movie references exhausting and the use of Les Blank's documentary on the making of Fitzcarraldo; The Burden of Dreams, a glaring affectation though Greg's impersonation of Werner Herzog writing an entrance essay to the college board is amusing.

Me and Earl and the Dying Girl is a difficult movie to write about because it can't be dismissed or assigned unconditional, fulsome praise. It is a film to see but is it a must see? It will no doubt elicit a stronger reaction from younger film-goers. Whether it impacts an older audience remains to be seen.