There’s a hypnotic dreaminess to several sequences in director Justin Kelly’s new film, Pretty Thing. Aided immensely by a twinkly harp and piano score courtesy of Tim Kvasnosky, the effect almost feels like a fairytale. It’s a classic story: poor cater waiter Elliot (Karl Gusman) locks eyes with beautiful older woman Sophie (Alicia Silverstone) at […]
There’s a hypnotic dreaminess to several sequences in director Justin Kelly’s new film, Pretty Thing. Aided immensely by a twinkly harp and piano score courtesy of Tim Kvasnosky, the effect almost feels like a fairytale.
It’s a classic story: poor cater waiter Elliot (Karl Gusman) locks eyes with beautiful older woman Sophie (Alicia Silverstone) at a fancy party, they covertly make plans to meet in her hotel room, and they have a passionate sexual encounter. It’s magical, even in the light of day, when Sophie encourages her younger lover to stay, order room service, and takes his number.
The whole encounter plays like a gender-flipped version of Pretty Woman (see also: the film’s title). Naturally Elliot becomes infatuated with Sophie, eager to meet up again or even just connect via text. Of course, because this is an erotic thriller, things naturally take a turn.
One of the novel aspects of Jack Donnelly’s screenplay is that the film refuses to lean too far into the sensational. Unlike the heyday of the early ’90s when spurned lovers were boiling bunnies or engaging in vehicular manslaughter, Pretty Thing keeps things reasonably realistic, engaging in sexual warfare that definitely borders on psychotic without becoming ridiculous.
One particularly effective storytelling device is the decision to split the narrative between the two leads. The first half of the film is told from Elliot’s point of view, which allows the audience to understand how he perceives the affair with Sophie. The 33-year-old lives a simple, unexciting life: he spends his time working a low wage catering gig and dodging the questions of his hypochondriac, over-protective mother Peggy (Orange Is The New Black’s Catherine Curtin).
Naturally when a sexually aggressive older woman with a great marketing job takes an interest in him, Elliot falls hard and fast. The problem is that he dangerously misconstrues their affair as romantic instead of simply sexual. A weekend trip to Paris – filled with more adventurous sexual experiences – only helps to confuse the issue. Afterwards Elliot believes he’s dating Sophie, even going so far as to invite her for a disastrously normal date that underscores their different understanding of what is happening.