Love Me Or Leave Me Alone (Duane Hopkins, 2003)
Love me or leave me alone (a
short film by Duane Hopkins) is a study of the unpredictability and tumult of a
teenage relationship as well as the constricting limitations of first love. Set
in a sleepy rural village, a young couple engage in a viscous argument that
culminates in Steven (James Firkins) spitting in his distraught girlfriend’s
face. Hopkins captures this scene of teenage acrimony using a mix of close ups
and medium shots that uncomfortably frame the couple’s hormonal rage. The
camera distance frequently switches between close and medium throughout this
altercation almost mimicking the violent unpredictability of the characters’ relationship.
It is not long after Steven expectorates on Jessica’s face that the couple go
their separate ways; Steven opting to wallow in teenage angst in a wooden
shelter by a football field and Jessica attempting to hitch a ride home. This
parting of ways is captured with a wide angle shot to communicate the sudden
distance the pair has created between one another. It almost seems ironic that
Jessica holds her thumb up whilst attempting to flag down a ride after such a
violent argument. This juxta position of images and ideas further highlights
the changeability of teenage emotions whilst foregrounding the levity of the
fight.
Now alone Steven has time to reflect on his actions and
realises that he can’t escape his feelings for Jessica, thus contributing to
the theme of the unpredictability of first love. I feel the grey, isolated
setting mirrors the characters’ entrapment by their own feelings as neither of
them have an efficient means of getting away from the village (Jessica
attempting to hitch hike and Steven forced to use a push bike to try and catch
up with her). This inadequacy reflects their inability to get away from their
own ever-changing and completely overbearing emotions.
A
slave to his affections, Steven decides to chase after Jessica, the tone of the
short switches at this point from the previous violence and aggression to a new
found feeling desperation as neither character is really prepared to let go of
one another. During the ensuing sequence Steven rides a push bike down a trail
of country roads, eventually catching up with his distressed girlfriend. Throughout
this scene cars fly past the pair in sudden bursts of abrupt diegetic sound,
puncturing the uncomfortable silence. I feel that, during this scene, the cars
represent established, mature relationships; they ease past, perfectly capable
of reaching their destination, whereas Steven and Jessica struggle on foot down
the isolated country lanes towards an unclear end.
After
uneasy periods of silence the couple begin to talk once more in a run down
abandoned structure: a perfect metaphor for the slow decomposition of a
relationship. This moment is cross-edited with a sex scene between the pair,
once more bringing to our attention the unfathomable emotions experienced in an
inexperienced relationship. Not long after their display of intimacy the pair
part ways, leaving with an uncertain exchange; they can’t stand to be around
each other but at the same time irrevocably need one another. It is this
emotional stalemate that Hopkins heavily dwells on in the films final act,
focusing firmly on the point that Jessica and Steven are ultimately slaves to
their emotions and because of this, have relatively little control over their
actions. This bleak hypothesis accounts for the films ambiguous ending in which
we see Steven walking off into the pitch black of night, occasionally splashed
by pools of phosphorescent light from passing vehicles. Hopkins provides the
audience with very little narrative resolution in a final attempt to emphasise
the unpredictability of young love, as if to suggest that the couple’s struggle
is ongoing and can never be resolved, merely repeated.
Whilst
I feel Hopkins managed to obtain two impressive performances from his teenage
protagonists the film is not entirely successful at delivering its message due
to occasional moments of clunky camerawork and consistently dull compositions
which detract from the films meaning. I feel far more subtlety is needed in
order for the film to work, as its message is not intricately weaved into the
films mise en scene and plot, much rather it is screamed at us by two hormonal teenagers.
Whilst this approach does painfully hammer home ideas of teenage angst and
unrest which we can all relate to, the film does not leave the viewer with any
real sustenance to think about after the fifteen minute running time and as
such I feel the message is somewhat lost; buried beneath pervasive profanity
and moody performances.
