WATCH THE FILM HERE
First, the Recap:
Fixation. Preoccupation. Infatuation. Obsession. Terms that would bear the weight of often dire consequences it would seem, especially when associated with a man and a woman. Man sets sights on his object of desire, elusive and perhaps even unattainable, yet the attraction grows, the affection builds, and what the final outcome will be–well–that becomes the quandary. Foley Merrick (Matt Mercer), a regular guy thrust into a sudden and shadowy enigma involving the woman of his dreams, Violet (Najarra Townsend), now sits in the local bar with her sister Lyla (also Townsend) trying to gather thoughts about the circumstances he now finds himself a part of. Lyla, initially cold and indifferent to his plight, puts doubt in Foley’s mind the answers he seeks will be discovered.
But, a quick change of demeanor on Lyla’s part causes Foley to begin sharing about how an incident has occurred, that he is involved, and unable to change what events unfolded. However, as Foley continues to recollect about his times with Violet, Lyla presents an entirely different take on the happenings occurring in her sister’s life, including another man within her sphere of companionship, Remy (John Paul Romeo), much to Foley’s chagrin. Soon, as Lyla’s explanations and revelations come flooding out, Foley then starts to question everything about his involvement with Violet, precisely how affairs transpired, and whether being the perpetrator of actions his conflicted, angry mind has conceived might have ultimately rendered him the victim.
Next, my Mind:
Filled with all the nuances one expects from noir cinema, from its low-key lighting, mirror shots, flashbacks, questionable heroes, cigarette smoking, and dark, moody tone, lead actor/director Mercer’s 13-minute short film is one of the best modern efforts in the genre this reviewer has personally seen, with a smoothly shot and well-acted execution of its themes, solidly written dialogue, and narrative as icing on the cake. There is no hesitation on Mercer’s part to engage the viewer from the start, setting up the scenes with an almost eerie purpose and burning intent via a perfectly paced flow which leads to a fantastic finale. What also impresses is actually the simplicity of the overall effort, and as this reviewer has mentioned with other indie films, this isn’t a bad thing at all. Often, simple reigns!
Mercer’s is excellent as Foley, giving us a man very much on the edge, completely immersed in his fantasy world that is Violet, while totally being in denial of the truths being presented to him that so greatly taint his own ideal reality and compulsions found within. Extra kudos need to be awarded to Townsend, who has the auspicious pleasure of granting us two characters in the same film via sisters Violet and Lyla, doing so exceptionally well! Providing each woman with her own distinct attitude, bearing, and presence while maintaining the ever so subtle differences in appearance, Townsend calls to mind femme fatale and innocent damsel with equal efficiency, which in turn assists the movement of the plot effectively. The interactions between the two is palpable and most certainly leaves one guessing more times than not who really is who.
A great supporting and essential turn from Romeo as Violet’s mysterious lover Remy only adds to the thick air of mystery involved here. Overall, “Play Violet For Me” is not just a classic example of more traditional noir attributes, it also shines as one more template that illustrates how much can be said in such little time. Oh, and maybe there’s something to say again about obsession–yeah–it’s a killer.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
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