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First, the Recap:
Aren’t date nights a blast? It’s that special, put-aside-everything-else-and-relax-with-the-one-you-adore time that seems to only happen every once in a blue moon thanks to life and other circumstances, ideally making the time together that much more treasured. However, how much more fun is it to be on that very first date–having arranged it–yet never having met the person–not knowing very much about them except some basic facts–wait a sec, here. In a lonely city diner, computer software engineer Vernon (Michael Gonza) fidgets nervously while simultaneously fussing over a table game, an as yet unknown uncertainty making his every tiny move seem powered with a constant state of unease or, perhaps, uncertainty of choice?
While silently mulling over whatever storm of notions flood his already knowledge-filled mind, a woman (Marybeth Paul) cautiously approaches the table, initially receiving no response from Vernon who has yet to notice anything else but the game he’s immersed in. Once getting his attention with a touch, the woman first ensures she’s meeting her intended date, and then proceeds to sit down, her winning smile and overt beauty becoming a shock to Vernon who evidently had other ideas of who would be showing up. The immediate awkwardness Vernon has shines forth, as he so very shyly tries to engage in conversation while the woman tries her best to patiently play along and coax him into a more comfortable place. Of course, once this happens, events take a decidedly different turn.
Next, my Mind:
Anyone who has ever been on a graceless first date but found it rescued by the other party involved through true understanding, equal amounts of initial hesitency, but then newfound confidence to initiate the more productive time together might just relate to this wonderfully dramatic and intentionally, creatively deceiving 9-minute indie short film effort from director Alessio Cappelletti and writer Kris Salvi, or at least up until the film’s final act. With the perfect pacing and totally unassuming tone the film carries itself with, we as the viewer begin at what would truly appear to be a simple first date scenario between two adults, one a prototypical nerdy, unsure IT guy and the other a completely out of his league beauty who manages to calm his obvious nerves and convince him that any and all doubts he has about the two of them linking up are unnecessary and totally unfounded, making for a series of charming, playfully humorous, and all-too-real sequences that leave you wondering how things are going to go, rooting of course for Mr. IT guy the whole way.
Then, out of the blue, the film’s climax arrives and totally blasts any and all ideas you might have had right out of the water, leaving you both shocked and yet desiring more, because let’s face it, there is MUCH that is then left to conjecture and/or unseen backstory which BEGS to be revealed, yet of course never arrives. It’s beautiful, effective, engaging, and original, which are all hallmarks of well-executed indie cinema. Additionally, it all can be construed as object lessons in realizing that we really don’t know people or situations as well as we might think, what actually motivates people to take rash actions isn’t always evident, that our reactions to events that drive us to said actions are not often handled well and out of raw emotion rather than logic, and that consequences of the final outcomes may certainly not be in our favor. It’s the ideal exercise in misdirection and twist endings that this critic has always appreciates in film overall, and this one delivers with style and cleverness that’s excellent to see portrayed in such a short timespan. The film is visually smooth, which makes the general presentation easy to watch and take in.
Gonza brings a fantastically understated and completely believable presence to the screen in his role as Vernon, an utterly normal guy whose IT nerd flag he would seem to fly high, made whole with his overall look and overly wooden demeanor, even as he sits by himself in an empty diner obsessing over a mind game waiting for something we initially aren’t aware of. Once the woman shows up and grabs his attention, Vernon’s bashful, timid manner comes out even more, and at first it isn’t clear whether she will endure him or not until the proceedings begin to take their revelatory steps. Even then, assumptions reign supreme as the pair try to find the place of absolute comfort in what they have arranged between them, with Vernon’s insecurities continuing to manifest. Once he finally allows his companion to reassure him, he launches out into the void of their pact, much perhaps to Vernon’s own personal sense of relief, even as other unfolding developments put an unmistakably jarring exclamation point on it all. Throughout, Gonza enacts this character with such ease and realistic delivery it deftly aids in allowing all that is to happen to remain a secret to the end.
With that same level of blatant, grounded realism and an entirely flawless performance, Paul delivers the goods and then some in her portrayal of the woman, an obviously attractive, intelligent, independent, confident individual who shows up to the diner to meet her date, Vernon. Her friendly manner and flashing smile take Vernon aback, causing him to stutter and stumble over words as one might expect, since it becomes apparent someone of her looks was not exactly what he had anticipated. She calmly guides him along in their conversations that ensue, though as one particular moment occurs, it becomes the first time some might wonder who she actually is or perhaps more so what she does for a living. Yet, even during the most uncomfortable of moments between them, she handles herself with enough poise and self-control to maintain their slowly growing bond so as to move on with the evening and all the fun that is to come. At least, that what it seems. By the time she’s fully persuaded Vernon to accept that his decision to contact her for this date is all above board and perfectly ok, the reveal of her true nature is only made that much more impactful and contrasting to our suppositions, with Paul so elegantly enjoyable to watch bring the character’s intent to fruition.
One supporting appearance is made here by Damien Chinappi as a man whose involvement in the evening’s festivities is honestly less than ideal–for him. In total, “The Date” is indie short film at its finest, at least to this critic, in that it so sublimely exhibits the true magic that can be accomplished thanks to the ongoing originality and passionate heart that indie filmmakers, their casts, and crews all put into it in order to illustrate that nine minutes is more than enough time to give us as viewers a full story, even fuller entertainment value, and do so in abbreviated fashion with flare and astute skill.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
