Rebecca ThomasCHILDREN

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ELECTRICK

“God’s vessel... the tape-deck.”

Herein lies the improbable premise of Electrick Children, the story of fifteen year-old Rachel (Julia Garner), a young Mormon girl who finds herself mysteriously pregnant after listening to a cover of The Nerve’s ‘Hanging on the Telephone’. That’s right - Rachel, like the Virgin Mary herself, has fallen victim to the Immaculate Conception through, in her own words, “God’s vessel... the tape-deck.” Improbable as it is, Electrick Children’s ambitious premise is handled with surprising agility by first time writer-director Rebecca Thomas. Thomas has crafted an impressive first feature, a curious coming-of-age tale that, despite its inconsistencies, is undeniably charming. For all intents and purposes, Rachel is a wholesome, God-fearing Mormon, but when her mother finds her in the middle of a midnight wrestling match with her brother, Mr. Will (Liam Aiken), and later pregnant, she is invariably punished for her transgression. Cue an impromptu road trip from Rachel’s Mormon colony in Utah to Las Vegas, to seek out the father of her unborn baby – the voice behind the cassette tape that got her pregnant. Along the way, Rachel and Mr. Will find a friend in skateboarder Clyde (a wonderfully restrained Rory Culkin) and have their first taste of the real world.

Words... Simran Hans

Design... Avalon Lyndon

If the plot sounds unconvincing, that’s because it is. However, captivating performances from newcomers Garner and Aiken encourage us to run with Thomas’s ludicrous idea. Garner (best known for her bit-part in Sean Durkin’s Martha Marcy May Marlene) is compelling as the angelic Rachel, possessing an ethereal magnetism and an earnestness that is eye-wateringly

sincere. Those with a keen eye will recognize Aiken from Lemony Snicket’s A Series of Unfortunate Events, though this turn as the surly Mr. Will is surely his breakout role. His moody, silent teenager is reminiscent of Paul Dano in Little Miss Sunshine, though this time, the brooding angst is dressed-up in traditional prairie garb. The film’s cinematography is

Sofia Coppola. Indeed, the radiant, angel-faced Rachel, in her oversized Lolita sunglasses, long white dress and clunky Doc Martens wouldn’t be out of place in a Rodarte fashion editorial. Electrick Children’s hipster aesthetic and sleazy Las Vegas setting does, however, allow for some great wish-fulfilment scenes; we get to see Rachel and Mr. Will experiment

decidely “indie” and rife with dreamy contrast. Handheld shots of rural Utah bathed in golden light are juxtaposed with the textured, grimy glamour of downtown Las Vegas at night. Shooting in gorgeous 35mm and throwing her demure sibling duo into the thick of downtown Las Vegas’ seedy punk scene, Thomas’ aesthetic feels more than a little

“a curious coming-of-age tale that,despite its inconsistencies, is undeniably charming”

“a curious coming-of-age tale that,despite its inconsistencies, is undeniably charming”

with recreational drugs, trespassing, skateboarding, making-out and eating pizza for the first time, as well as a light-hearted game of “Never Have I Ever”. Thomas comes from a Mormon background herself, which is perhaps why Rachel and Mr. Will transition into their new rock ’n’ roll lifestyle in such a smooth and nuanced way. The kids welcome their new experiences with a kind of youthful curiosity. Yes, they are Mormons, but they are not so naive that they are unable adapt to the unfamiliar situations that they are presented with. Indeed, Thomas handles the Mormon theme delicately and generously (see Billy Zane as Rachel’s gentle, articulate father). However, despite its subtle and promising beginning, the narrative quickly descends into madness. The third act is a rushed mess of haphazard decisions that are more unrealistic than Rachel’s claim of the Immaculate Conception. Thomas’s screenplay is intriguing but sadly, insubstantial. “We should have planned this”, Bill Sage muses. Yes, Rebecca Thomas, you should have.

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