The perils of adolescence are not exactly a new cinematic subject, but writer-director Charlie Polinger’s dark drama The Plague is so searing, its cast of characters so compelling — and compellingly real — that originality becomes besides the point. After all, it was Kubrick himself who once said, “Every story has been told… It’s our job to do it one better.” And Polinger certainly does, his depiction of “not fitting in” more penetrating than most committed to celluloid. A word of caution: this film may dredge up some traumatic memories that some of you may prefer to keep safely tucked away.
The events take place at a water polo camp in 2003. Soft-spoken, introverted Ben (Everett Blunck) desperately tries not to be the outcast among a herd of loud, brash, mean-spirited 12-to-13-year-olds. The worst by far is leader Jake (Kayo Martin), who seems to extract perverse pleasure from torturing Ben. First, however, they collectively shun the socially-awkward Eli (Kenny Rasmussen), claiming he’s infected with the titular “plague” (“those aren’t regular pimples, those are plague pimples”).
Ben skirts being the victim, even contributing his share of bullying poor Eli, despite secretly having more in common with him than the rest of the boys. After a locker room incident, Ben’s reputation begins to slide rapidly, and Jake harasses him viciously. He gets the plague and becomes the target. A poignant diner conversation with the coach (Joel Edgerton) provides a sprinkle of hope. But then a terrible rash appears all over Ben’s skin. This leads to a crazed finale, a perfect note of extreme intensity.
” … his depiction of ‘not fitting in’ is more penetrating than most …”
On-the-nose plague metaphor aside, Polinger cunningly captures the dynamic between kids that age, how vicious they can be towards each other, how they don’t give a f**k what they say to adults. He examines the toll of bullying at an age when the feeling of not belonging is death-like, suffocating, and fitting in means everything. The stark contrast between the way-too-confident-for-his-age Jake and the introverted, insecure Ben underscores how identity at that age calcifies in opposition: one boy armoring himself with swagger, the other shrinking under its weight.
This microcosm — when true, unbridled power can be felt for the first time — is vividly captured by Polinger’s team. Cinematographer Steven Breckon’s symmetrical compositions and extreme close-ups plunge us right into these boys’ heads, as well as the escape into the underwater world, where the world is muted and slowed down. Composer Johan Lennox’s jarring, cold, bone-rattling score evokes alienation, fear, and hopelessness.
Working with kids is tricky, and Polinger coaxes incredible performances from his entire young cast. Kayo Martin is a natural; his little fu**er is joining this year’s “best villain” league. Blunck makes for a hugely compelling lead. As for the film’s sole adult, along with the acclaimed Oscar-contender Train Dreams, Joel Edgerton is having a fabulous year. He’s hugely sympathetic as the coach who attempts to reason with the kids without crossing boundaries and then has no choice but to cross some.
Whether it’s a boner during the worst possible moment, squeezing a zit, pranking some unfortunate outcast with a bed full of bugs, or dancing the night away to Moby, Polinger is palpably in touch with his inner adolescent. I hope this film was an exorcism of sorts for him — confronting your demons and all that. It may have the same effect on some of you. Others may feel violated. Darkly funny, wise, a little weird, The Plague takes no prisoners. Go ahead and get infected.
"…Darkly funny, wise, a little weird..."
