Charlotte Sometimes (DVD, 2003)

By Nick Farina

One of the most frustrating factors in relationships is outside interference. An “outsider”, who to others is an innocous newcomer, is suddently a sexual predator. Someone you must shield your loved one from, lest this outsider prove stronger, more attractive than you. It’s animal instinct.

So goes writer/director Eric Byler’s film Charlotte Sometimes. Michael is a young Asian-American, living in L.A. He works days at his father’s auto repair shop, and lives in a family house, converted into two apartments. He rents the other apartment out to a young couple. Michael is single, and spends his nights out at clubs or listening to the couple have a good deal of loud sex upstairs. Needing post-coital emotional attachment her boyfriend cannot provide, the woman, Lori, visits with Michael for some chit-chat and a movie. Their relationship is strictly platonic, though the way they lie next to each other suggests a certain longing. It goes on like this for quite some time, and then we meet Darcy.

The introduction of Michael/Darcy is beautiful cinema. He sees her, walks away, comes back after building some courage. This is a fantastic way of giving him an entry point. The film could have portrayed him as “nerdy”, but goes in the right direction, making him an everyman: not too bold, nor too timid. Darcy spends the night with Michael, but he refuses her overt sexual advances… he remains cold and distant, yet still interested. She leaves in the morning, but leaves her underwear… and Lori comes to visit. She flings the panties around her finger, and adds a slight sexual angle to her words with Michael, even coming up to him and throwing her arm around him. The games are on.

The way Byler unfolds his plot and characters is a joy to watch. He plays the audience carefully, as the film involved twists. Like a master magician, he pulls out one rabbit at a time. He gives us time to ponder what the rabbit means, then pulls out another one. But the film never gets gratutitously twisty, and maintains it’s melancholy and romantic tone throughout.

Byler has been compared to the Japanese masters such as Ozu and Kurosawa. I see none of their influence in this film, which is a good thing. He creates his own stlye, not as fast pace as American independents, but a bit more uptempo than the more contemplative Japanese cinema. He avoids much static camera, but we are rarely aware of it’s movement. He uses songs and music frequently, perhaps over-frequently, but his selections are nice, and fit the mood.

Byler can create memorable scenes, so rare these days. One masterful scene, reminiscent of a similarly stunning one in Easy Rider finds the two couples sitting at lunch. The two girls know a secret, the guys don’t. The way this tension and obliviousness builds is a blast to watch. It is the best scene in the film, and one of this year’s best.

The subtlety of the performances are worth mention, as well. Rather than give the characters an over-the-top, jealous and angry angle, Byler instead goes for emotional realism and achieves it magnificently. We never doubt that these characters could exist, perhaps even sitting next to us in the theatre.

Haunting, memorable after quite a few months, elegantly shot, and cleverly scored, Charlotte Sometimes will be a very strong calling card for Eric Byler.