"I think it should be determined on a case by case basis..." - Filmmaker James Bolton responding to the question, "What do you think the age of consent should be?"

If I tell you the subject matter of "Eban and Charley," you will immediately know whether or not you want to see it. It's about an older man who has a romance with a teenage boy. It speaks in defense of such relationships. There. You know right now whether you want to see it or not. And therein lies it's biggest problem: Like many gay films or films that represent a subculture of gay lifestyles, it's only preaching to the choir. If you have problems with this type of relationship, it's doubtful that any film will sway your opinion. If you have no problem with such relationships, you already know they exist and know the inherent problems they entail.

And yet, like all good gay films, "Eban and Charley" is important because it lets some people, people who have experienced such a relationship, know that they are not alone. Perhaps then that, in itself, is all it can hope to accomplish.

As a film, "Eban and Charley" has a few problems. The pacing of the film is very, very slow. Writer/director James Bolton, who shoots in DV here, has crafted an airy, leisurely film that explores a relationship between two characters languidly, allowing the plot to sort of seep into the film. His visual style is reflected in this with long, quiet segments and elongated moments where the characters perform the most mundane of activities, such as riding bikes or shopping for CD's. Because it implies a sort of tension, or at least an expectation, you constantly feel some sort of impending doom within the film. You put your trust and emotions in the film, as you view it, hoping it all won't going horribly wrong (both cinematically and script-wise). And there are moments where tiny rips in the fabric do occur and the film doesn't go exactly where you hope it will.

Most oddly in the film, Bolton's characters reflect yet this same style. Eban, as portrayed by Brent Fellows, is so quiet and so tenuous, that he often comes across as mildly creepy. When he first initiates a friendship with Charley, it somehow seems to close to "preying" on him. Charley meanwhile, is a wonderful character brought to life by Giovanni Andrade, but he is too quiet and introspective himself. Somehow we wish someone here was more sure of themselves.

I'm not sure what Bolton hopes for here. He does have a quiet masterpiece on his hands. Perhaps I shouldn't fault him for making some tough choices. For example, Charley doesn't seem to have any prior sexual inclination whatsoever, gay or straight. This seems, in effect, his first relationship ever. Eban has a past that is less that ingratiating. Eban also seems slightly "dumb" about what is happening to him. He never seems capable of expressing himself as an adult here. He seems unable to defend his feelings or actions. The whole final section is far too overwrought with tension that it sometimes slips into high melodrama. It sometimes seems like an "Afterschool Special" or a soap opera.

And yet, somehow, "Eban and Charley" works. The actors here have a real chemistry. Andrade and Fellows just click. Bolton's lack of wordiness, at times, makes for a wonderful, romantic, interesting film. In the end, we believe in the love of the characters and, yes, as predisposed as we are to it, we want them to succeed. We want them to, somehow, find happiness.

Even those who are accepting of such a relationship will have much to think about when they see the film. It will, without a doubt, provoke thought. Isn't that one of the greatest gifts a film can give it's audience?

Notes:

At the Austin Gay and Lesbian International Film Festival, Bolton, who was in attendance, announced that the film was likely to be picked up for distribution in North America very soon. He also said that the music in the film would change slightly upon this transfer to 35mm and it's release. Stephen Marrit, who wrote the original score, was working on some new music. The music in the piece was a bit iffy at times.

One scene that was quite good found Fellows playing a guitar and singing a song to Andrade. It was quite exceptional. (He reminded me of Grant McLendan).

Filmed in Oregon.

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