"HALE BOPP," Movable Feast Productions and Jigsaw Pictures at Breadline Theatre
BY LUCIA MAURO
It’s rare for a film review to appear on a website devoted to the live performing arts. But "Hale Bopp," a debut independent film written and directed by Chris Rubeo, has pared down an epic story of emotional transformation to the intimate storytelling-essence reminiscent of fulfilling theater. Plus the ideal cast consists of respected Chicago actors who bring an unforced honesty to the screen.
Based on the director’s own experiences when he moved here in the late 1990s, "Hale Bopp" refers to the comet that shot across the universe in 1997 – a phenomenon that probably won’t recur for another 4,000 years. Rubeo attributes the metaphor of astronomical unrest to his flawed party-girl heroine Rachel’s struggle toward falling in love with unassuming architect, Ethan, an archetype of unconditional love. Set in Wicker Park, the film – shot on Digital Video – tracks Rachel’s affinity for disposable, often booze-soaked one-night flings.
But instead of setting up predictable polarities of a "bad girl" finding redemption in a pure-hearted guy, Rubeo doesn’t offer any neat answers. Instead the plot unfolds with messy twists and turns in what feels like real time in a location with people as recognizable as the individuals with whom we share an "L" ride. He also makes no judgments or seeks the cliched happy ending. When Rachel discovers love beyond casual sex, her re-connection with Ethan has a bittersweet, unnerving quality to it. We’re not quite sure these two can ever find perfect happiness.
The writer-director also has crafted a cynical and tawdry subplot that cleverly turns the tables on viewers’ preconceptions. Rachel’s billiards/drinking buddy, Bart, appears to be a sinister force intent on keeping Rachel in her dysfunctional discomfort zone. We also become privy to the underlying problems of Rachel’s roommate Matt and his silently dissatisfied girlfriend Christine – courted by friend and fellow architect Neil.
And it’s clear that Rachel has locked herself in a prison of arrested development due to personal tragedy dating back to her childhood. Her buried sorrow is mirrored in her photographing of child hospital patients.
So Rubeo does not just give us a locally shot soap opera. He delves into an almost cosmic story about the ability to find a shred of personal peace amid that chaotic post-collegiate period of most of our lives. More than your average tumultuous boy-meets-girl cliché, "Hale Bopp" cuts through the smoke and dull clatter of the singles scene to unveil individuals trying to recover from the damage of societal expectations.
And, although Rubeo tends to be too enamored with his Chicago locale (the specificity sometimes gets in the way of the story’s universality), he has created a film of great emotional rawness and candor.
Andrea Mustain was born to portray Rachel – her eyes registering a non-self-pitying melancholy that will break any viewers’ heart. She fluidly embodies defiance, regret, self-loathing, vulnerability, compassion and an earthy invincibility. She is wisely paired with Brad Eric Johnson’s quietly non-judgmental Ethan. John Jordan turns in a scorching, multidimensional performance as the seemingly irredeemable Bart.
Other well-shaped performances include Fred Warner’s Matt, who finds the heart beneath his character’s quirkiness; John Stoops’ unassertive Every Man, Neil; and Ginifer King’s graciously balanced Christine.
Rubeo does not resort to conceptual, non-linear tricks. He tells a familiar story with great earnestness and an artistry derived from the naturalness of his dialogue.•
Free sneak previews of "Hale Bopp" take place Dec. 16, 17 and 18 at 8 p.m. at Breadline Theatre, 1802 W. Berenice (between Lincoln and Ravenswood). For more information, log onto www.haleboppmovie.com.
