Pretty Red Dress has a lot of good going for it. Director Dionne Edwards’ captivating family drama is an expertly shot and skillfully acted piece of work. The story centers on a young couple and their teen daughter as they navigate life and identity in South London. The dynamics of their relationship are the driving force of this casually paced film. There is a neutral, nonchalant approach to the film and its subject matter that tends to work in its favor. With all the positive attributes the film possesses, there is a curious misstep in the final act that may deflate the viewer’s experience. Unfortunately, this misstep keeps the movie from being the cultural milestone it might have been.
The film opens as Travis (Natey Jones) is being released from prison. Travis walks away from his incarceration with exaggerated machismo and swaggers back into the lives of his girlfriend Candice (British singer-songwriter triple threat Alexandre Burke) and their daughter Kenisha (scene stealing newcomer Temilola Olatunbosun). Travis’ bravado is matched by the feminine balance of Candice’s nurturing yet tough stature within their household. As Travis shuffles to get back on his feet, Candice holds the household together by being responsible and present for the newly mended family. Candice’s story carries extra weight as we witness her intense try-outs for the lead role in a Tina Turner musical. Burke shines in multiple facets: on the one hand, she can handle the grounded and realistic moments; and furthermore, she brings her West End theatrical skills and true superstar qualities to the show-stopping musical numbers scattered throughout the film. You root for Candice. And that is important. Although you’re never certain if that’s what the filmmakers really want you to do.
Travis has a “not-so-secret” secret. Travis is a cross dresser, and he is compelled to wear the pretty red dress that he gifted to Candice for her Tina Turner try-outs. Candice and Kenisha walk in on a startled Travis while he is wearing the dress. Here is where the film shifts into topical explorations on masculinity versus femininity and sexuality versus inclination. These moments are nuanced, and there is never the feeling of being bombarded by an agenda. There is still much life going on around the three central characters, and Pretty Red Dress works well in a place of neutrality concerning its topics while not being trite about supposed social norms. No character is treated as a hero or pariah, which makes the film all the better.
When the final act arrives, Travis comes into full focus. After sharing the narrative time with Candace and Kenisha, Travis’ character steps forward while the other storylines dissipate. Travis seems to be torn, although we never really see Travis ascribed to an identity. Natey Jones’ portrayal of Travis as a person filled with love, rage, jealousy and fear at any given or all moments is commendable. And, just as you did for Candice, you root for Travis as well. We really see his personality shine in the brief moments of connection with his daughter. We see Travis’ struggles and his spiral, but we don’t get the opportunity to see his breakthrough. Because there is no clear indication of Travis’ catharsis, his moment of triumph seems rushed and un-earned. The film, until now so expertly grounded in its realism, becomes melodramatic, curiously opting for soap operatic tropes and placating the audience with a happy ending.
Pretty Red Dress works on many levels. It gives you a strong story with characters that you want to root for. That’s why it’s a letdown when the film doesn’t connect you to the triumphant moments of self-realization. We get to see the race and the victory lap, but we miss the most pivotal story arch crossing the finish line.
Photo courtesy of Gravitas Ventures
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