The Line
Ethan Berger’s feature debut, The Line, does not bring anything novel to the table about college fraternity that you would not know. Instead, it spends its 100 minutes doing this over and over again (alongside Daniel Rossen’s jocular drumming), quite straightforwardly ‘the social networking’ type drama about how the never ending predatory and overbearing Greek system gradually morphs young half-dressed pledges into heavy drinkers and coked-up outlaws. And yet, paradoxically, for all its outpouring of history of fraternity, it is mildly engaging because of the depressing ride, the two lead interesting characters, and the black humor that permeates the entire movie.
The filmmakers of the work, as seen, recognize that Tom is a newcomer to the fraternity, so it makes sense for the viewer to be introduced to the Greek fraternity culture from an outside perspective as well. As Tom deposits his belongings into his Kappa Nu Alpha (KNA) fraternity house, it is clear to the audience the kind of lifestyle he is beginning to live. Over the next few scenes montage with classic fraternity style photos of Tom and his friends dressed in suits and bonding is presented to show just how feminine the mind of a Greek cade has become. A flashback to Tom’s past is shown, which is quite appropriate: no case goes unpunished, and a brother gets all rewards; that position positions fraternity members as elite with the set of rules for them. A brief introduction about Tom’s family and their wealth or lack thereof sheds light into why he feels even more subordinate than his fraternity brothers elitist or not, all of them are at a higher place than him in the social hierarchy of the university.
Therefore, it is no surprise that Malkovich garners favour over Mitch’s father at dinner and builds a bond with Mitch’s chapter president (Lewis Pullman) who is also his mentor. “Always align yourself with the best,” Malkovich says in one of the restaurants. “That’s the recipe.” This year will test him in quite the manner that would never cross his mind. This is especially the case since Mitch’s obnoxious behaviour goes against the unwritten rules of the fraternity and he is in constant conflict with a newcomer (Austin Abrams) who doesn’t want to submit to house hazing 17 times over.
The moment we hear the words ‘Have you ever seen a fish on the wall with its mouth shut?’ only then do we know that the film is dominated by some character tom who is some how involved in or will be involved in KNA’s endless party of sex and drugs that toms dad is bound to get too. However, they do it so convincingly that even the hour before the climax, the involvement of violence seen in Greek life is simply a build up to where everything is headed to that carries the most intrigue. KNA was required to paint more of these characters and their dynamics and behavior. Everything from hypermasculine stereotypes, gay banter, crass references, monologues parodied after the war scene from Gladiator and lines of cocaine been snorted in huge quantities, all this made up the norm. Its as though Byron is an anthropologist of Greek life.
Pullman, Abrams, and Angus Cloud, alongside Cheri Oteri and Denise Richards, are nice supporting casts, adding dissimilar dimensions to the performance. However, it is Wolff who has it rough; Tom may not be wise, but even within him you feel the frustration that seeks to bring out the positive energy when he is in a dilemma (Halle Bailey plays an almost too liberal Black student who gives him a different angle from the fraternity she got cut from, and sends a bit of sass from his brothers, but all her scenes do not go beyond the moral tone she tries to bring in which is of no use). Allen in all respects fails to impress, with too much focus on the problem of Mitchells Mitch, who seemed far more aggressive as the main character. The characters were only threatened by the hidden insecurities that each of the characters went through. For him, it is fitting to describe Sander as ‘the group’s butt’ like Piggy from “Lord of the Flies” or Gomer Pyle from “Full Metal Jacket.” He is awkward and stands out so much which leads to his strange actions. The role is controlled perfectly; at once despising and provoking sympathy to the character that he portrays.
It can be pretty engaging, sure, but there’s a lot of laughter to be had as well, Berger welcomes you to chuckle together with these fools fighting over things like how someone had fun taking a golf cart bear ride along with why no one bothered to order strippers for their off campus team building retreat. (The consistent appearance of Eiffel 65’s ‘Blue (Da Ba Dee)’ does absolutely wonderful work in adding the cherry on the top to the madness that these pledges have to go through.) But finally the story does stick in your mind, a little clichéd, yes, but cautionary tale about how denial is dangerous and the prevalent brutality of frat life is a full blown episode. It’s all very much over the top and unnerving but, as a nicely framed shot of a television in the final few moments of the sequence shows, not exactly the stuff of dreams.
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