Anorexia is one of the persistently misunderstood and
glamorized disorders. The ravages of this particular condition is often
belittled or stereotyped in the worst possible manner. The glamorizing comes
from using the term for eating disorder to all thin people which further
equates it to physical agility and fitness. Then there’s the common stereotype
of perceiving that eating disorders are only confined to the demographic of young
wealthy Caucasian female. Part of the reason for this misrepresentation is
because eating disorders don’t make any sense to most of us (though it’s an
issue rampant in America, found among different ethnic groups. The approximate
no. goes as high as 30 million). The
good thing about television writer Marti Noxon’s directorial debut To the Bone
(2017) is that it dismisses the false beliefs related to the eating disorders
(like bulimia and anorexia), before forging down the subdued narrative path to make
an palpably optimistic movie. The script is loosely based on Noxon’s own
experience during the 1980s whose first-hand knowledge of the disorder brings
out unbridled empathy on the central character Ellen, assimilated by Lilly Collins – a truly haunting & career-best performance. Lilly has shown real
compassion for the character as she has also talked about her own struggle with
eating disorders.
Nevertheless, questions and alarms were raised about the
actress, who suffered from eating disorder, starving off to play the central
character (some medical professionals related it to ‘an actor with a history of
serious drug abuse getting high repeatedly for a film role’). The trailer of
the film did give off the feeling that it’s yet another ‘disease of the season’
movie. It set off controversies, including a ‘Change.org’ petition demanding
the streaming giant Netflix to withdraw the film from public domain (Netflix
bought the film for 8 million dollars after its acclaimed Sundance debut) for 'aggravating the stigma surrounding eating disorders’. Moreover, the lead
character Ellen is a very rich young white female (so much for breaking the
myths of anorexia!). Yet, the film is mostly opposite to the misgivings derived
from the trailer or other editorial sources. While Marti Noxon’s protagonist
hails from a background that confirms to typical personification of the
disorder, Collins’ Ellen is a well-rounded character who truly serves as the
doorway to make us comprehend emotional and physical turmoil of anorexics. In
addition, Noxon leavens the narrative with warmth and humor without affecting
its ring of unsettling truth.
‘To the Bone’ opens with an apt warning sign, since the film
was deemed harmful enough to trigger painful memories for people with eating
disorders. However, the film opens on a light-hearted note in a residential
center to realize Ellen’s mercurial, frustratingly stubborn character nature.
The scarily bony 20 year old Los Angeles girl with a penchant for art isn’t
willing to admit that her eating disorder isn’t under control. For years, she
has been in and out of residential centers and at times force fed through tube.
Ellen can immediately come up with caloric information of any food. She
frenetically does sit-ups in bed and floor, convinced that the meal will put
her in the path towards obesity. As a result, there are bruises on her fragile back. At
one point, Noxon scrutinizes Ellen’s physical features which are so
distressing: bones stick out at different angles and hair grows in unusual
places. We are informed that Ellen’s heading toward rock bottom that soon her body, running out of fat, will begin to digest muscle.
Ellen lives with her adorable half-sister Kelly (Liana Liberato), well-meaning chatterbox stepmother Susan (Carrie Preston) and an
apathetic, unseen father. Ellen’s very sensitive and bit self-centered mother
Judy (Lilli Taylor) has gone off to stay with her partner Olive (Brooke Smith).
Ellen’s relationship with her family members is elegantly realized in these earlier sequences. Much of the
conversation between them lingers around their bafflement for Ellen’s eating
disorder. Susan truly wants to help Ellen, but she doesn’t know how, except for
gleefully carrying a large cake with words ‘Eat up Ellen!’ The comic curiosity
of the family members was, thankfully, not exaggerated for mere laughs. They
are part of the society that equates anorexia with vanity and obstinacy. Yet, they somewhat demonstrate an empathetic will (especially Kelly) to help Ellen
overcome her afflictions. Eventually, due to Susan’s determined stance Ellen
agrees to check into a new unconventional treatment facility, under the care of
renowned doctor William Beckham (Keanu Reeves). There’s considerable diversity
in the depiction of people living in the house and among them Ellen gets real
close to a charming ex-ballet dancer Luke (Alex Sharp). When subsequently
the situation unearths fresh problems and dilemmas, the
emotions surging to the surface are carefully handled.
To the Bone’s story line does place itself in the
melodramatic young adult territory which may ultimately diffuse bland, life-affirming
messages. Apart from the sarcastic opening scene and few later exchanges, the
film side-steps such cliched thinking and instills a humane perspective on an
oft-misunderstood disorder. There’s nothing formally fascinating about Marti
Noxon’s style. But she deftly maintains the unsettling as well as mildly
optimistic tone throughout the start to finish. Her direction of actors is
pitch-perfect. And, except for the ‘big’ emotional scene when Ellen’s mom feeds
her with a baby bottle (which is taken from the director’s personal life) Noxon
doesn’t unnecessarily move the camera to contrive heightened dramatic effects. Writing
is sound for the most part. The early casual lunch conversation between Ellen
and Kelly plus the later bickering in family therapy session were efficiently
written. The dialogues at few occasions desperately try to be quote-worthy, but
there are also some clever exchanges. For example, when Susan leaves Ellen in
the treatment home, she says ‘be good’ and after a little gap, she continues
‘not perfect, not too good’. It’s a good little line which indicates how some
part of the eating disorder could be associated with destructive social
pressure due to health and beauty concerns. Yet for all the solid nature of
writing, one of its considerable flaw is the underdeveloped or one-dimensional
characterization of the people at the treatment home. The emotional problems
and the physical ailments the minor characters face differs and they are shown
to have hailed from diverse background. Yet, they are written to be types or happen to be mere
devices (except Luke) for moving forward the narrative (Short Term 12 – a
different kind of Group Home movie was more profound and empathetic in handling
the supporting characters).
Despite the conventional framing and pacing, director
Noxon’s treatment on a couple of aspects is really commendable. One is the
characterization of Dr. Beckham. Played by Keanu Reeves, the character does
seem to take Robin Williams’ (Goodwill Hunting) path providing pat messages. He looks like the
perfect male savior or the caring father figure for the diseased young female.
Similar line of thoughts goes for Ellen’s burgeoning friendship/romance with tender
Luke (it’s a strange relationship which doesn’t mask their uncertainty and
awkwardness). These characters aren’t treated as the givers of meaning to
otherwise pessimistic thought-process of Ellen. The change, as the final
brilliant dream sequence indicates, is possible only after scrutinizing her own
vulnerability and by demonstrating compassion for herself. The revelation
arrives at the point Ellen truly realizes her unhealthiness (seeing her own
mangled self). Marti Noxon understands that there are no sunshine-and-rainbows
ending for this kind of tale. It’s just a constant struggle whose pain may be assuaged by
half-sister or Luke or Dr. Beckham, but the possibility of recovery solely
rests with herself. This conviction is what makes To the Bone an honest and
unsparing work, placing it alongside other good addiction or disorder recovery
films.
Trailer
To the Bone (107 minutes) delivers an unflinching yet humane
perspective on the oft-pigeonholed eating disorder. Despite few missteps and
conventional narrative set-up, film-maker Marti Noxon intends to spark a
meaningful conversation on the matter rather than opt for strict Hollywoodization.
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