BAYSTATE BLUES Review - Written by dASH

(*This is one of three reviews I promised to do for people before I permanently deleted filmfanatix.com. These reviews are coming about a month late, but you know what I say-- better late than never! Many thanks to the always wonderful TonyD for allowing me to post the reviews here and get the word out on these films. Thanks!*)

I've seen a lot of independent films. I'm not even talking about Todd Solondz-type independent films. I'm talking about the “still-yet-to-be-discovered” true independent films.

With that said, I must also state that not all of these independent films have been a pleasant experience to sit through. I've found that there are 3 types of indie films: 1) The ones with the overly wordy philosophical awkward dialouge that is trying to hash out the director's own existential issues, 2) The ones where the plot and writing are okay, but the acting and directing are horrendous and ruin the entire film, and 3) The ones that are little gems, and you wonder why the film is still relatively undiscovered. For the purposes of this review, Mark Lewis' BAYSTATE BLUES falls under category number 3.

I really liked this film. I know that's a rather weak introductory sentence. It doesn't explain why I like it, or why you should like it. But... I... I just really like it. As a matter of fact, the first words out of my mouth 10 minutes into the film were exactly that: “I really like this film.” I mean, BAYSTATE BLUES is a rather simple, typical plot that we've seen before. A young married couple is having issues within their relationship. Family and friends get involved actively and passively into their troubles. Drama ensues. More drama ensues for the supporting characters. Plot twist/surprise ending. Tah-dah!

So, then, why did I “really like” this film, even though I've seen it countless times before? Well, I'm going to give you 5 solid reasons as to why I enjoyed it, and why you should too.

(Note: I already gave a basic rundown of the plot formula of the film. I do not want to go into detail, because I don't think it's needed, to be quite honest. The reasons I am listing reasons why you'd enjoy this film too, and not the plot itself, is because that is what is most important here. So please put “plot” aside for one moment, while I try to explain the artistry behind this film. Also, the absence of plot does not mean I did not enjoy the entire cast of characters. As far as I'm concerned, this was definitely an ensemble effort.)

Reason #1: Empathy: If you cannot relate to at least one of these characters, you have no soul.

The first “act”, if you will, of BAYSTATE BLUES, takes an intimate look at the lives of a young married couple, who act more like an old, miserable couple. I'm not stating that couples married for a long time are miserable, but rather I mean old in terms of monotony.

Mike (Scott Lewis) and Devon (Allyson Sereboff) know each other all too well. They know what makes the other one smile and laugh, but they also know how to get under the other's skin. There's a bit of a sadistic game of teasing going on by Mike in the beginning of the film. We can tell that he is holding some sort of grudge against Devon, as she is with him. However, Devon's grudge is still yet to be uncovered. But as for Mike, he has no problem attempting to get on her nerves, whether it be by sneaking up on behind her and giving her a good fright, or skillfully making a sandwich in such a way that would have Mother Theresa herself wanting to fly-kick him in the head. Of course, that's where my empathy comes in-- because I've been in Devon's shoes. Been there, done that. I know the games that are played when you try to appear happy on the outside in a relationship, but suffer through the “button pressing” quietly as to not give in to the other person's aggression. Sure, there are many other well-developed characters in this film to explore, but that's for you find out. For me though? I empathize with Devon and the dynamic she has with her husband Mike.

Reason #2: Ingenuity: Director Mark Lewis takes the art of directing and transforms it into something risky and different.

One thing you will notice right away when watching BAYSTATE BLUES is that there are a large number of extreme close-up shots. At first it's a bit awkward. It makes you want to back away from your TV screen or try to adjust the ratio aspect. But notice I said “at first.” The more the film moves along, you begin to realize that these numerous close-ups-- (albeit to some people's beliefs a bad move in any film)-- are quite necessary. After a while I actually enjoyed them. They created a great sense of intimacy between myself and the characters. Director Mark Lewis appeared to try his best to have the audience become immeshed in these peoples' lives by (quite literally!) putting us right smack-dab in their faces. I liked it. I even felt my body leaning in more towards the screen after a while. It was almost as if I was standing there with the entire cast at some instances.

Reason #3: Symbolism: Everything has its purpose and place in this film.

I could be wrong. I might be misinterpreting the meaning behind a few shots in the film. Maybe they were subconscious flukes on the part of Lewis... but I'd like to think not. You see, I love symbolism that isn't spoon fed to the viewer. For instance, I love David Lynch. I love unraveling puzzles. And in BAYSTATE BLUES, Lewis subtly inserts quite a few symbolic meanings and shots that don't blatantly beat the viewer over the head.

For instance, there is one shot in the beginning of the film that foreshadows some things to come. Lewis shows us a beautiful shot of a road with two cars departing. The one red car (sisters Virginia and Alex) turn left onto the main road. The one blue car (Mike) exits onto the main road by going right. It's also no coincidence that Devon's long lost “friend” Wojo (McKey Carpenter) also drives a blue car in the film as well. Once you watch the film, you start to understand the importance of the term "middle-of-the-road," and how that concept revolves around its characters.

I don't want to give too much away, but I don't think there has been enough credit given to Lewis for his masterful ability to write and direct a film that incorporates so many intricate elements that make the film so beautifully crafted. I suppose this goes back to my theory that if you are not yet a “discovered” director, no one pays close enough attention to the detail that goes into the film. But every artist has a vision, and sometimes the audience needs to look a little harder to find out what that artist had in mind. I mean, just read Lewis' Statement below and you can start to imagine, for yourself, how something as simple and cars turning “right and left” and the colors “red and blue” signify something so much deeper in a film:

"What do you think of when you hear the term 'small town America'? Chances are if you're on the Conservative Right, you think of a Norman Rockwell utopia. If you're on the Liberal Left you think of a haven for the brain dead redneck NASCAR fans. As with most things the truth lies somewhere between the two extremes. This is a story of the truth."

-Director

Reason #4: Writing & Acting: In order for a film to really work (especially “independent cinema”) both must work well together.

This is probably one of my key passions about the film: the writing and the acting. I loved the story line. The words that came out of the actors' mouths were believable. I liked these people. I cared about them and what happened to them. I actually wanted to watch more of the film once it was done. I found myself thinking about how their lives might be right now. I worried about them, felt happy for them-- I even had a crush on one of them (“Jason”/Joe Tuttle)! And, com'on, anyone who can write and/or deliver the line, “Put a harsh on your sexy" and make me laugh out loud unexpectedly, has to have some major talent in the writing department.

Reason #5: Music: I want the soundtrack.

If you love independent film, you most likely also love independent music. The original songs played throughout by composer Dave Felipe were awesome. I was actually disappointed a soundtrack didn't come with the screener (and, no, that wasn't a hint, Mr. Lewis!). I particularly loved the song “Running Man” and found its lyrics and melody to be quite complimentary to the plot and characters. The music was like side dish that could be eaten as a main course; it could survive with or without the movie.

So, yes, I wrote a rather glowing review. And you're probably asking yourself right now, “Well, Tara, is there anything you didn't care for in this film?” To be honest, yes. There is only one tiny aspect that I didn't like, which was when Virginia (Sharon Maguire) was talking at the end about Jason's “surprise” for her. For some reason I found the harsh editing to be a little too much, but I do understand the director's intent and purpose of inserting it as he did. Even though it's not my personal cup of tea, I still respect the risk he took doing it, and it is easily forgivable, since it is understandable.

And there you have it! So please take a few moments out of your time and mosey on over to http://www.baystateblues.net/ where you can read up more on the film and check out the actor's bios. I do not see a link where you can purchase the film as of yet, but there is a CONTACT link on the site, and I'm sure Mr. Lewis would love to receive some inquiries about his film right now regardless.

Thanks for reading!

- Tara

(aka dASH)