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First, the Recap:
Imperfections. Despite looking, overall, at the beauty of this world we’ve been given to call home, there remains an undeniable fact that it has more than its fair share of flaws. We ourselves are most assuredly less than faultless and is therefore evident in the scope of human interaction that we WILL let each other down, most likely more times than we’d care to admit or entertain. But, how we MANAGE those moments, THIS is the measure of one’s character. However what if this was being experienced through the eyes of someone, or something, more–celestial? Derrik (Bryan Kaplan) has had a uniquely unfortunate episode occur that he now finds reason to blame on his supposed watcher, an angel named Gabby (Christy Lee Hughes), whose own personal, albeit immortal, life is less than heavenly in more ways than one. Yet, will she be able to find the means to make amends, or turn the situation into an even bigger disaster for herself?
Next, my Mind:
An adaptation of the original play by writer Matthew McLachlan, this 13-minute indie short film from director/executive producer Christy Lee Hughes, executive producer Bryan Kaplan, and producers Cole Quirk and Christopher Vincelette takes on the foundational concepts of human (or in this case, supernaturally-based) limitations and shortcomings along with the need for redemption and reconciliation and wraps it all into a decidedly coarse, nonetheless unequivocally comedic, irresistibly charming narrative delivered with an absolutely grounded, credible resolve and intent. Now, if one would only attempt to judge this effort on its surface elements alone (ie: the copious amount of harsh language, what some might consider a rather blatant stab at religious belief, etc), then it would be a fairly uncomplicated choice to dismiss the film offhand. While this critic freely admits the aforementioned crass verbal barrage, especially in such a short timespan, was a bit outside my personal preferences, it was what lies at the HEART, the CORE, of the film that ultimately makes the needed impact.
Conveying a tale that sees a regular guy rather upset with his supposed protector over an incident he’s encountered and hence suffering through the consequences of, the story actually delves quite emphatically and with compelling certainty into thematic paths that traverse bad judgement, addiction, coping, blaming others for our own issues, our penchant for getting defensive when someone calls us out for our mistakes, having to face realities about ourselves that aren’t easy to accept or confess to, seeing how our struggles can so deeply impact and sometimes negatively affect others as well, confronting how our circumstances so often dictate how we behave rather than us mastering them, regret, and the need for seeing things made right. This is all done via an unapologetically bold presentation that mixes its hilarity with blunt truths that DO offer life lessons we could all take to heart more, especially given the state of this tumultuous society so rampant with fear, anger, hate, and other maliciously-slanted attitudes and atmospheres created by it. Plus, this is a full-out study in precisely one fact we must ALL face–WE ARE NOT FLAWLESS!
Additionally, and this may have been somewhat hinted at above but it bears mentioning (again, perhaps) anyway, the film deftly explores the notions of our VERY human habit of rationalizing/justifying dependencies or compulsions that we do tend to turn to to deal with disappointments weathered and exactly HOW painful it can be to GET called out on it. In fact, the film also addresses, briefly, one of the (SADLY) most prevalent mental conditions out there currently, and hence the story serves as that evocative reminder about the seriousness of mental health concerns and addiction in conjunction with the other primary themes showcased. Even so, by the time the film’s final act is in play, it paints a potently necessary portrait of THE component that everything we’ve seen should lead up to–forgiveness. As we witness this, there’s also still some time left to elicit laughs via ONE last moment of good old-fashioned, hysterically slapstick-oriented hijinks, putting a magnificently executed cap on the proceedings.
Hughes just radiates brash, unflinching bravado and yet manages to temper it with pure comedic timing and a level of believability amidst the jocularity through her role as Gabby, an angel with a slight proclivity for grand entrances and not-so-grand demeanor when it comes to doing the job we find she’s been tasked with–and currently faltering in. Initially treating her “client’s” travails with an overly “WAY too casual/uninvolved/apathetic” manner, it soon becomes apparent this just won’t do for him. First feeling attacked and reacting accordingly, Gabby must find the means to really listen, overcome her own self-made obstacles, and find a way back to some sense of righteousness and purpose, even when the road to get there is fraught with her initially argumentative and callous approach due to certain cravings. It’s both a comical yet also affectingly engaging performance that brings out the narrative’s purpose, and Hughes we can tell relishes playing the character, making us wonder if this isn’t the last we’ve seen of Gabby!
Kaplan gets to bring a style of performance to the table that I personally feel is a staple in many an indie film–intelligently delivered understatement–through his turn as Derrik, an “everyman” who’s now stuck at home nursing wounds both physical and mental thanks to what he now firmly believes is a result of inadequate job fulfillment by his reputed preserver. Once said individual makes quite the smashing appearance in his home, Derrik doesn’t waste much time letting his feelings about her be known, much to her chagrin, but to his building agitation. Even as he makes a choice that could shatter everything they are, Derrik must make his own decision as to whether it will end up being worth choosing the more elusive offering when in a questionable circumstance with another. Again, Kaplan plays the character so “normally” (NOT a bad thing, folks) that it lends itself to realize just how well he IS acting in order to provide the appropriate level of volatility when needed and when to hold back while still inducing laughs and sympathy for the character.
So, in total, with its very straightforward visual approach and meshing of adult comedy (as Hughes stated to me: “NSFW and no kids”) and varying instances of dramatic gravitas, “Guardian” does carry the indie film torch through its staunch, committed, unwavering, fearless execution, willingness to challenge the norm, and present ideas in a fresh, provocative way so that we might realize there’s more to the genre than only entertainment. Rather, it still discovers a way to travel beyond that and extend enlightenment about convictions and perspectives life throws at us to digest and, ideally, learn from, applying it more to our own day to day. Does this not lead, hopefully, to better understandings between us as people, hence opening us up to seeing a better world through laughter and lessons? For me, this sounds, well, divine.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
A solid review. Thank you.
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