No matter how they turned out we all had to go through that perilous period called the teen years. The commonality of this experience makes it perfect fodder for films. Actually it gave rise to a whole new genre referred to as the ‘coming of age’ flick. In more recent years this type of movie has been degraded to the most juvenile possible elements relying almost exclusively on sex, drugs and alcohol in seemingly unlimited supply. As in all cases where this phenomenon has manifested the results are the same; the degradation of a genre that formerly held incredible potential. Thankfully, there are still auteurs with sufficient pride in their art and dedication to creating a film of values that a devotee of cinema need not give up all hope of quality. One of the prime examples of the reactionary trend to counteract the cultural decent of such movies is Submarine’ an exceptionally well constructed coming of age story by filmmaker Richard Ayoade. It should be noted that the aforementioned elements are not entirely absent in this film. It is only natural for any story that is centered on the turbulent pre-adult teen years the subject of sexual behavior and mood altering libations is certain to come up. The difference as demonstrated here is a matter of degree; a case where the filmmaker realizes the importance of balance. It is similar to a master chef preparing a signature meal. The perfection is obtained but using various potent ingredients in moderation, as accents not the dominant, overwhelming flavor. In the case here depicting a teenage boy looking forward to initiating a sexually active life is normal. When the writer and director use this plot device as the foundation of the flick the quality has to suffer and the resulting film will be puerile. A teenage boy wanting to loss his virginity is acceptable as one note in the story’s palette; it just should not be tasked with shouldering the entire burden of the story. There a gentleness pervading this movie that is so wonderfully appealing that the worse aspect of it is the roll of the final credits. The audience is pulled into the emotional heart of this film so subtly that you begin to watch and before you realize it you are completely hooked nit only by the story but on a deep seated human level.

Oliver Tate (Craig Roberts) is a fifteen year old boy growing up in a modest costal town in Wales, Swansea, and a fairly liberal little city. The time period of the mid eighties, a time before the intense globalization of the internet and the all consuming inflation teens currently have with personal technology. These simple choices nicely set the stage preparing the audience for a story that will engage them through human interpersonal interactions not those mitigated by the intercession of personal electronics. It also has the side benefit of creating a timeless atmosphere that could relate to the audience regardless of their generation. Oliver is beset by the usual pressures and tribulations shared by many boys his age. At school he is not part of the well defined popular cliques; an outcast from most socialization with his peers. At home he is witnessing the growing emotional distance exhibited by his parents. His methods for coping with these stressors are somewhat unorthodox and under a less talented touch than seen here by director Richard Ayoade there would have been a strong temptation to take Oliver on a darker pathway or at least one devoid of the depth exhibited here. Instead Ayoade surrounds his protagonist in a self obsessed cocoon of fantasy that permits him to create a self image with him at the center of importance. In his elaborate day dreams he is a genius still unappreciated by the public at large. In this flight of fantasy he is well liked and popular, the opposite of the truth. He is also certain of his parent’s impending breakup even going to such lengths as monitoring the dimmer switch in their bedroom to gauge the level of their intimacy. The object of his own quest to lose his virginity is a girl in his school, Jordana Bevan (Yasmin Paige). She is pretty, smart and possesses a rather mischievous sense of humor. One day she arranges to meet him after school and tells him to bring a Polaroid camera. Oliver is a bit bewildered but as we all know boys that age would gladly do much more under the circumstances. As it turns out the camera was just a plot to get some snapshots of them kissing as part of a ploy to stir up some jealousy in her ex-boyfriend. As she explains to Oliver; ‘at least its proof you’re not gay’. The plan goes horribly awry resulting in public humiliation for both of them and a staunch beating for Oliver when he refuses to denounce Jordana as a slut. On their way home she exhibits a bit of tenderness by taking his hand and parting with a chaste kiss but in Oliver’s mind that singles Jordana is now his girlfriend. Oliver is trapped between reality and his off kilter, even twisted view of events. His mother is diagnosed with a brain tumor and his initial reaction is to poison her dog but rethinks it. Their relationship grows but Oliver remains perceived as distant even cruel but it is merely a manifestation of his social ineptitude.

Fans of British television series will most certainly recognize a few names in the credits. Director Richard Ayoade played the definitive computer geek, Moss, in the incredibly funny ‘IT Crowd’. If you have ever worked in corporate computer support this series is mandatory. He also took on the task of writing the screenplay based on the acclaimed novel of the same name by Joe Dunthorne. Ayoade is making his feature film debut here as writer/director but he has been sharpening his skills carefully on previous smaller scoped projects. His style here is marvelous; a perfect blend of control and fanciful abandon that faithfully captured the emotional growing pains experienced by its subject. Ayoade also does not seem to feel obligated to provide a nicely tied up conclusion. The film is about a specific period of Oliver’s life that comes to an end before the next chapter is written and therefore naturally left open. This in itself is a brilliant move that few relatively new filmmakers would dare to make. The audience should feel unfulfilled; it reflects the emotional state of Oliver and is therefore the only honest way to leave matters.

The other face that will be familiar to television oriented Anglophiles is Ms Paige. For several years she played Maria, the youthful sidekick of former Doctor Who companion Sarah Jane Smith on that spin-off. Like many of the Sceptred Isle’s most talented thespians she has done her bid in the Doctor Who School of acting. Here she displays a range that will propel her to a formidable career. She has chemistry with her young leading man, Craig Roberts, which defines the artistic core of the film and provides the story with a realistically compelling foundation. This movie is everything a coming of age story should be; tender drama held together by dry heartfelt humor.