There’s a lot to appreciate about Me and Earl and the Dying Girl, particularly in how much it is
willing to reject certain tropes of teen-targeted films in order to make a
product that defies genre conventions.
First and foremost, this is not a love story, which alone makes it noteworthy
amongst films targeted at this demographic.
It is also wickedly funny with a sense of humor that is instantly
relatable to the teenage mindset, yet couched in literary and cinematic
language that makes it interesting for adults.
That said, though, Me and Earl
would have been a much better film if it hadn’t spent so much energy
congratulating itself on how it’s different and focused on how it could tell a
more original story.
The titular characters are Greg (“Me”), Earl
(self-explanatory), and Rachel (the Dying Girl). Greg is an aspiring film-maker who partners
up with local kid Earl to make off-beat parodies of classic and quirky
films. One day, Greg’s mom informs him
that Rachel, a girl in Greg’s class, has been diagnosed with leukemia, so it is
Greg’s duty to go and spend time with the dying girl who he barely knows. Begrudging at first, Greg makes his way over
to Rachel’s house and the two eventually spark up a friendship, bringing Earl
in as Rachel becomes a fan of their bizarre films.
The premise itself may sound a bit standard for the
cancer-as-tragedy style of tear-jerker that is a staple of teen fiction, but
this film surprisingly doesn’t exploit the cancer for its own sake, even going
so far as to mock those who can only see a person for the disease they carry. This is actually a coming-of-age story for
Greg, whose self-loathing angst is transformed by his willingness to bring a
new friend into his life, a status that he only barely awards to Earl even
after years of making films together.
It’s an interesting spin on a stale trope that is accentuated by some
really smart and funny writing, with Nick Offerman, Molly Shannon, and Jon
Bernthal killing it in some bizarre supporting adult roles.
However, the film is perhaps a bit too
self-congratulatory in how aesthetically and narratively different it is. The camerawork and score make constant
reference to classic films, and while the references will only be distracting
to those versed enough in film history to get the joke, they don’t serve any
purpose other than to make the film appear more artistically deep than it actually
is. Furthermore, this comes at the
expense of real human interactions, as Greg’s story completely overshadows the
other two titular characters. Earl and
Rachel each have one defining character trait (being a black cliché and dying,
respectively), which especially feels disingenuous when the film places such
emphasis on treating Rachel as more than a cancer incubator.
Me and Earl and the
Dying Girl isn’t a bad film, but it certainly isn’t as great as it thinks
it is. It’s a film with a lot of style
and a lot of self-awareness of the pitfalls that teen tragedies fall into, but
not only does its self-awareness become obnoxiously egotistical, but it
ultimately feels hollow once you acknowledge the tropes that it doesn’t avoid, namely its shallow
characters and too-cool sense of style.
I recommend this film for a few quirky and bizarre laughs, but don’t buy
into its self-hype during its final moments.
This is not the teen fiction second coming that some have lauded it as.
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