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Saturday, October 1, 2022

A disturbing coming-of-age comedy

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Amanda Catherine
Amanda Catherine
Amanda Catherine is an American Film Critic, writer, and journalist. She received a postgraduate degree in Film and Media Studies and has contributed several articles for top magazines. Her film criticisms were published on leading websites and have gained massive popularity. Besides film criticism, she loves to write about recent hot topics of celebrities and breaking news.

We open in a middle-class New Jersey suburb where budding cartoonist Robert struggles with the death of his fellow mentor, an aging teacher who may have only praised him for his nefarious intentions. Robert’s art consists almost entirely of elaborately drawn genital caricatures (which are brought to life). through several famous cartoonists writer/director Kline knows him from the New York scene), but he still believes that future greatness beckons despite this seemingly limited skill set.

Realizing that all of his comic book characters suffered early on in their careers, he decides this is the only way he can fit in with them, so he moves from his wealthy family home to the disgusting apartment he lives in. half a room” with two middle-aged men. He also drops out of high school to take a low-paying job as a paralegal, which leads him to Wallace (Our Flag Means Death star Matthew Maher), a disgraced former low-level employee of a prestigious comic book label. . Although he is on trial for assaulting a pharmacist and his job was just “coloring” to help the main cartoonists, Robert sees him as a mentor, which quickly proves devastating to both sides.

In addition to subverting conventional coming-of-age ideals about reaching maturity and re-examining one’s place in the world – something that stubbornly remains the same no matter how hard Robert tries to change his life circumstances – The Merry Pages is one of the best cinematic rebukes to the idea. that good art can only be created by suffering. Heeding advice repeatedly thrown at him by reckless mentors that he should avoid the typical college path to follow his own instincts does not result in any noteworthy creations. Robert ends the film the way he begins: a teenager with a penchant for gross sexual caricatures who can’t find a clear direction to the greatness he thinks beckons.

This is arguably more realistic than your average film in this genre because it highlights that no one ever achieves their career goals so early in their lives; it may have a less-than-sunny personality, but it’s a lot less harmful than the high social standards of a typical teen drama, which typically culminate in the protagonist getting a place at his dream college. Few people have these conditions, and Kline realizes that someone is taking a reckless alternative path to success that will elude him forever, a more dramatic attraction. You may never touch the success story, but there is at least some joy in not being able to touch it.

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