If the film medium is a representation of the views of society, then this certainly applies to the position of homosexuality. Filmmakers/Studios often struggle with the identity of homosexual characters. They ofter fall in either of two categories; The main character who struggles with the orientation, or the funny over-the-top sidekick no one should take seriously.
Fortunaly, this is changing. Slowly, but it is changing. It's a relief to see a homosexual character in whom it's not an issue on whom or what you fall for. The main and titular character, from the best-selling novel Love, Simon, is actually only getting in the way of that himself. As Simon Says in the voice-over: He's a normal boy, but with a secret. Simon has known he's homosexual for a few years now, and when it becomes known, through social media, that there's another homosexual boy at his school, he decides to send him an e-mail under pseudonym.
Love, Simon is a fairly generic teenage drama at the start, which reflects the traditional elements of middle school life. It seems to start out as a Young (Gay) Adult version of You've Got Mail. But the search for who the mysterious other person is, is actually becoming less and less a plotline throughout the movie. When a fellow student accidentally finds out about the gay pen pals, he uses this as blackmail. The only way to keep it from revealing, Simon has to help the blackmailer to get a date with one of his friends. Yet the mystery and blackmail never seem to dominate the story. What matters most is when Simon feels familiar enough with himself to come out of the closet, not because of his environment, not because his family or previously mentioned plot-points. But because of himself.
What makes this adaptation so special it that is stays away from many clichés of the genre. That homosexuality exists in many different types is shown by another student (who came out years ago), who is extravagant. No judgement is given, certainly no mockery. Everyone can be themselves, as long as you allow yourself to do so. This makes Love, Simon not the umpteenth coming-of-age/coming-out film, but above all a song of praise for personal sovereignty.
Director Greg Berlanti makes no exaggerated sentimental or melodramatic states of any of it. The only way to go with Simon's struggle is to paint it as natural as possible. Berlantie knows how to portray the perception and thoughts of his protagonist in a striking way. More importantly, unfortunaly, there is still a need for these kinds of films and the message they provide. How tolerant we all claim to be with all of us: if sexual orientation, which deviates from the "norm" a little, manifests itself, the acceptability of the many is still very rare.
Review by DeletedBlockedParent2018-07-15T22:00:52Z
8,5/10
If the film medium is a representation of the views of society, then this certainly applies to the position of homosexuality. Filmmakers/Studios often struggle with the identity of homosexual characters. They ofter fall in either of two categories; The main character who struggles with the orientation, or the funny over-the-top sidekick no one should take seriously.
Fortunaly, this is changing. Slowly, but it is changing. It's a relief to see a homosexual character in whom it's not an issue on whom or what you fall for. The main and titular character, from the best-selling novel Love, Simon, is actually only getting in the way of that himself. As Simon Says in the voice-over: He's a normal boy, but with a secret. Simon has known he's homosexual for a few years now, and when it becomes known, through social media, that there's another homosexual boy at his school, he decides to send him an e-mail under pseudonym.
Love, Simon is a fairly generic teenage drama at the start, which reflects the traditional elements of middle school life. It seems to start out as a Young (Gay) Adult version of You've Got Mail. But the search for who the mysterious other person is, is actually becoming less and less a plotline throughout the movie. When a fellow student accidentally finds out about the gay pen pals, he uses this as blackmail. The only way to keep it from revealing, Simon has to help the blackmailer to get a date with one of his friends. Yet the mystery and blackmail never seem to dominate the story. What matters most is when Simon feels familiar enough with himself to come out of the closet, not because of his environment, not because his family or previously mentioned plot-points. But because of himself.
What makes this adaptation so special it that is stays away from many clichés of the genre. That homosexuality exists in many different types is shown by another student (who came out years ago), who is extravagant. No judgement is given, certainly no mockery. Everyone can be themselves, as long as you allow yourself to do so. This makes Love, Simon not the umpteenth coming-of-age/coming-out film, but above all a song of praise for personal sovereignty.
Director Greg Berlanti makes no exaggerated sentimental or melodramatic states of any of it. The only way to go with Simon's struggle is to paint it as natural as possible. Berlantie knows how to portray the perception and thoughts of his protagonist in a striking way. More importantly, unfortunaly, there is still a need for these kinds of films and the message they provide. How tolerant we all claim to be with all of us: if sexual orientation, which deviates from the "norm" a little, manifests itself, the acceptability of the many is still very rare.