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Just the Robinsons' Affair
Jonathan Groff does Benjamin Braddock at least one better
Published: Wednesday, January 5, 2011 6:26 PM CST
BY GARY M. KRAMER
In the provocative drama "Twelve Thirty," written and directed by Jeff Lipsky, out gay actor Jonathan Groff plays Jeff, a young man bewitched by Mel (Portia Reiners) since high school. After a lengthy and talky flirtation, they have sex, but in the same week, Jeff seduces Mel's sister, Maura (Mamie Gumer), and has an intimate encounter with Vivien (Karen Young), their mother.
Vivien's husband, Martin (Reed Birney), remains close to his family, but lives with his partner, Robert. In the film's most dramatic moment, Martin confronts Jeff about something that has transpired between this outsider and one of the family members.
In a recent phone interview, Lipsky, who is straight, said "Twelve Thirty" was inspired by two other films ÐÐ a 1990 Russian comedy-drama entitled "Adam's Rib" about three generations of women living under the same roof, and the 1967 American classic "The Graduate." He changed the three generations of "Adam's Rib" to two and made the "Mrs. Robinson" character -- Vivien ÐÐ the pursued rather than the pursuer. His conceit works well, with the balance of power between Jeff and the women he romances always shifting and uneasy.
Lipsky said that while his film's protagonist shares his name Jeff, the loss of virginity scene is the only autobiographical element in the film. The writer/ director has created a multi-layered fiction that explores issues of truth and trust, as well control and protectiveness. Lipsky coaxes an impressive performance out of Groff, and he offered the utmost praise for the actor, gushing, "He was inquisitive about every line. He and I were completely in lockstep with the character."
Given a controversial April 2010 Newsweek article that specifically singled out Groff as someone who could have trouble playing straight convincingly, the question naturally came up in discussing "Twelve Thirty."
Lipsky's response was adamant and definitive.
"I'd not heard of Groff before casting," he said. "I saw 'Spring Awakening' after he left the cast. 'Taking Woodstock' was released after we cast 'Twelve Thirty.' Then 'Glee' came along. I didn't know of his fandom gathering critical mass. When I met and auditioned him, called him back, cast the film, and directed him, I had no idea he was gay. If he came out before the movie, I can't say if I would cast him or not. But I can't imagine another actor, straight or gay, who could be more believable or plausible."
Lipsky also insisted that a line in the film where Jeff tells Maura he is not gay was in the original script, and not added to address Groff's off-screen sexuality. The comment was motivated, instead, by Maura's concerns about her father's bisexuality.
The filmmaker then cited an early scene ÐÐ shot in close-up to emphasize its intimacy ÐÐ in which Jeff and Mel are sitting in a car. On the brink of losing his virginity to Mel, Jeff's desire for her is palpable, Lipsky said. In fact, "Twelve Thirty" is full of such sexual tension, especially in the third act, when Vivien hold's Jeff's penis, and contemplates what -- and if -- more will occur between them.
Elsewhere, however, Lipsky is coyly vague in telling the story. One key sex scene is shot almost entirely in darkness, with just the actors' voices relating the action. Part of the pleasure of "Twelve Thirty" is puzzling out what exactly is true. The writer/ director defends this ambiguous approach to storytelling, saying, "I don't like to tie things up in a nice neat bow, so why should something seem simplistic on the front end, either?"
The film's characters are equally complex. Lipsky described Jeff as "a complete innocent who has been experiencing all these desiresÉ then crosses a line and becomes testosterone out of control," but some viewers will see him as utterly duplicitous. Others, in contrast, may feel he's being manipulated.
Perhaps the most interesting character is Martin. Lipsky has a real fondness for this father figure, and said he would love to explore Martin's story with Robert -- his happy, well-adjusted, but never seen partner -- in another film. Creating this minor character was particularly challenging, he explained.
"I've met many people in my life who are Martin," Lipsky said. "But I am a heterosexual man, so when I write a bi character, I want to make sure I don't make any mistakes or undercut the character -- that he's as empathetic and believable and as important as any other character in the film."
Martin has only three scenes in "Twelve Thirty," but each one is vivid and critical to the storyline. His confrontation with Jeff is one of Lipsky's favorites. "It unnerves audiences," he said gleefully. "It's a big shocker."
Complexities are a big part of what make the film so noteworthy and refreshing. There is so much there -- in the bold storytelling, the characters' behavior, and the actors' daring performances -- that "Twelve Thirty" practically demands a second look for audiences to take in and believe what they have seen.
The Film Society of Lincoln Center will host a Jeff Lipsky double feature on Jan. 10 at 6:15 p.m.. A screening of Lipsky's 2006 film "Flannel Pajamas" will precede a preview of "Twelve Thirty." Both films will be followed by a Q&A with Lipsky and select cast members. Visit filmlinc.com for full details and tickets. Complete Information:TWELVE THIRTYDirected by Jeff Lipsky
Twelve Thirty Productions, LLC
Opens Jan. 14
Angelika Film Center
18 W. Houston St. at Mercer St.
