Danielle
MacDonald Cathy
Moriarty
Bridgett Everett
Siddharth Dhananjay Mamoudou Athie
Is
there a more unlikely rapper than an overweight, kinky blonde-haired white girl
without much in the way of charm?
That’s Patricia “Patti” Dembrowski aspiring to become a famous rapper in
New Jersey. One of the film’s
strongest points is illustrating just how demeaning others can be toward
someone like that. She’s been
teased since childhood—especially by one cruel kid from junior high—so has
developed a thick skin, but it still hurts and can knock her off her feet
(literally), especially when she’s caught up in her passion—rap.
Up-and-coming
writer/director/musician Geremy Jasper is impressive in his first feature film,
in that he has found the perfect actress (all the way from Australia) to play
the role with a New Jersey accent and the chops to rap; he has constructed an
engaging story with emotional depth; and he steers the production expertly
through potential mine fields (diversity in race, musical genres, family
issues) with grace and care.
Danielle MacDonald is experienced in television drama mostly, but has no
trouble transitioning over to moviedom.
She adds spunk to her character and easily conveys all the ranges of
emotion Patti will experience as she rides the up and down course of a musician
trying to make it. Clearly, she
could not have succeeded without some very special people in her corner.
At
home—which is a squalid apartment shared with her unsupportive and rather ungrateful
alcoholic mother Barb (Everett), who competes with her and denigrates her
taste—and her ailing Nana (Moriarty) in a wheelchair, who is faithfully in her corner every step of the way. Another supporter is her friend and
fellow musician Hareesh (Dhananjay)—actually a pharmacist—who is her personal
cheering section able to overcome all her negative self-statements, although he
does have his limits, which is to the good. Finally, owing to Patti’s undaunted pursuit of a punk rocker
living in a shack by the cemetery equipped with all the latest technology, Bob,
self-named the “Antichrist”
(Athie), is persuaded to join Patti and Hareesh in producing the group’s
first CD in their new name, “PPNJ.”
In
the beginning of the film, I found it hard to sit through all the scenes at
home where no one ever seems to pick anything up, except Barb, whose hand is
continually picking up a drink; endure the taunting on the street of “Dumb
Patti” and violence toward her by a thug; and see how Patti scrambles with
everything she can muster to support her mother and grandmother. But gradually, some good things begin
to happen, Patti learns how to manage and cope better, and she gets some
breaks. It’s not all rosy; there
are still some downers, but it’s not hopeless.
Patti Cake$ will not be to everyone’s
taste and the viewer must have some appreciation for rap music, but those
inspired by “true grit”, creativity, and sensitivity to social issues, will see
much to be entertained and inspired by.
Those familiar with Bridget Everett’s and Cathy Moriarty’s early
careers, will get a nostalgic kick out of their roles in this film.
Take a seat on the roller coaster ride to stardom—at least almost
there.
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