
In many respects, Kelly’s film wouldn’t work without that real life grounding; the whole story would sound completely fantastical. Michael Glatze wasn’t just any old reverse-convert, he was a celebrated activist and journalist for XY Magazine. He was invested in the queer community and the queer community was invested in him. Approaching these events, Kelly opens up a whole hornets’ nest of issues that cut deep for many in our community and theirs (insofar as the two aren’t expected to overlap).
With the inherent drama and some expansive concepts to hand it is surprising that I Am Michael doesn’t get its hands all that dirty. There are buckets of betrayal and identity politics to wallow in here but Kelly keeps it clean. Glatze’s epiphany/collapse is signalled by little more than a health scare, some ominous music, and plenty of God-ward stares from James Franco (again flexing his “gay-onscreen” acting muscles to impressive effect). The after effects are drawn out across angsty tracts signalling the loss of community and the happiness and support that goes with it.
It is never uninteresting – in fact the interest grows as the film progresses – but it barely raises a pulse. Kelly’s ability to engage the audience without engaging fully with the ideas makes for a controlled, low-key experience. In the end, the “balanced and respectful” take leaves I Am Michael feeling totally M.O.R. Probably more that it actually is.
Intriguing but starved of air.
★★★
Trailer:
I Am Michael screened as part of the Melbourne Queer Film Festival 2017.
You can check out other films from the festival here.
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