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by Garon Cockrell
Molly’s Girl DVD Review
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By Garon Cockrell
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March 22, 2013 5:25 p.m.

















Molly’s Girl is an excellent film about a socially awkward woman

named Molly who has her first gay experience with an activist named Mercedes.

But this is anything but a typical coming-out story. In fact, it’s not a

coming-out story at all. The film’s scenario is different from that of other films I’ve seen, and the relationships are interesting, complex and

original. The film boasts really good performances, particularly by the two

leads, but also by some of the supporting cast. And though when watching the

film I found myself laughing out loud quite often, this is actually a pretty

serious film. There is a lot going on here.








Molly’s Girl begins with Molly (Kristina Valada-Viars) speaking

directly to the camera, awkwardly playing with her hair, trying to convince us

to like her. And then we see that she’s speaking to a man opposite her. He

doesn’t respond, so she continues awkwardly, “I think if Jesus had had more time on Earth, he would have gotten a

pet, like a dog or a mule or something. I think it would have helped him with

those people who killed him because they would have seen how he was with his

dog and they would have known that he was a naturally good person because he

had a dog who loved him
.” The man gets up without saying a word. It’s a

speed-dating scenario.








A little later, Mercedes

(Emily Schweitz) is at a bar with her girlfriend Gina (Stephanie Brown). Molly

enters the bar, and is upset that the bartender can’t remember what she ordered

last night. She is clearly a bit demented and tries hitting on the guy next to

her, who is astonished and annoyed.








Mercedes is a gay rights

activist, but her girlfriend just wants to live her life. Gina suddenly breaks

up with Mercedes, and Molly overhears this. Molly has scared away the guy next

to her, and later in the night Mercedes takes the seat he has left vacant.

Interestingly, Molly tries to sell herself to Mercedes the same way she tries

to sell herself to men. And it’s not that Molly is trying to pick her up; it’s

just that that’s how nervous and socially awkward she is. However, Mercedes is

drunk, and asks Molly for a ride home.








At Mercedes’ home, Molly

suddenly kisses Mercedes, then backs away, as if completely unsure if that were

okay. Mercedes says “Oh, what the hell,”

and returns her kiss.  The next morning Molly

is still her talkative, awkward, overbearing self, which is great. It’s not

that her first gay experience has suddenly changed her. Molly simply attaches

herself to Mercedes the way she would with anyone else, showing up at her place

of work, and then at her home, just walking in with a packed overnight bag.








Mercedes, wisely, gets a

restraining order against Molly. But that doesn’t stop her; Molly shows up at

work, tells Mercedes she loves her. Molly is constantly lying, so that when she

says she’s the senator’s daughter, Mercedes of course doesn’t believe her. But

this bit actually happens to be true. She’s the daughter of a senator Mercedes

has been trying to persuade to not vote against gay marriage.








So Mercedes rushes out to

catch up with her, but in order to confront her, thinking Molly is actually

part of her father’s twisted strategy, not to suddenly make up with her (which

a lesser movie would have her do). But Molly breaks down, and Mercedes opens a

bit to her, then strikes a deal with her in which Molly will take her to her

father’s birthday party and introduce her as her fiancée.








Molly has a couple of props that are put to good use in

establishing and showing her character. The first is a hand mirror with her

name on it. Molly often consults this mirror when stressed out or in doubt,

looking into the mirror as if checking up on herself, trying to see how she is

perceived. The other is a white fur scarf that she plays with, almost like a

child playing dress-up. These work well to show both her trouble facing

reality, and her somewhat stunted growth into adulthood.








There are, however, just a

couple of unbelievable – or at least questionable -  elements in the film (though they’re minor).

For example, at the senator’s house, which is quite big, Molly and Mercedes

have to sleep on the floor of Molly’s sister’s room because there is no other

place for them. But clearly a house this large would have guest rooms. It would

be a simple thing to address – just have Mercedes say something like, “Really, no guest room?” And show by the parents’ reactions that they’re just being

cold, that they’re not going to make things easy for Molly.








Also, Darren (Andre

Davis), a man who works for Mercedes, drives Mercedes and Molly to Molly’s

parents’ house. Why?  And where does Darren

sleep? We don’t know, except that it’s somewhere in the house. With the

senator’s assistant perhaps? It’s not clear why Darren is there at all. However,

I’m glad he’s there, because I like that character, and there are some

wonderful moments with him at the house. For example, I absolutely love it when

Darren says how he hates New York. “I

just hate it. Honest-to-God hate it
.”








As I mentioned, this film has a fairly strong supporting cast.

In addition to some great work by Andre Davis, this film has some excellent

work by Ellen Dolan as Molly’s mother. One of my favorite moments with

her is when she speaks with Mercedes about homosexuality while setting the

table for dinner. (Emily Schweitz is also excellent in that scene.)








And, amazingly, you really

do come to feel sympathy for Molly, just as Mercedes does. You understand at

least a bit about why she is the way she is, why she is constantly creating a

fake life for herself. And Molly, without any anger, calls Mercedes out on her

own bullshit in another of the film’s many excellent moments. These are

well-rounded, fully developed characters, and you end up caring for all of

them.








Special Features








This DVD includes two

deleted scenes. In the first one, Molly is clearly looking at her younger

sister in the mirror, not herself, which is interesting, as it shows she’s not

able to look at things directly. (It can be cut, because we see her do that in

other scenes.)  The second one is actually

an extended scene, and I think cutting this portion was the right move, for it

doesn’t fit at all. It shows a sleazy sort of guy hitting on Molly.








The DVD also includes the

film’s trailer.








Molly’s Girl was written and directed by Scott Thompson. Molly’s Girl was released on March 19, 2013

through TLA Releasing.






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