Plainclothes follows closeted 90s police officer Lucas (Tom Blyth) who spends his workday luring gay men into the toilet at the mall before arresting them. Set in 1997’s America, a story about cops luring men into bathrooms to out them a few years ago would have been a distant shudder of the past but is now something all too relevant to our precarious present-day climate.
After Andrew (Russell Tovey) slips his phone number into his pocket, Lucas finds himself questioning his line of work and his own sexuality. Andrew comes into his life around the same time his father dies, and the two crises cause Lucas to meltdown. The film smoothly transitions from being a police drama to a gay romance to a familial tragedy.
We’re always being watched
Plainclothes tells its story in a non-linear fashion without any markers, making it hard to keep up with. The way the timeline flits to before Lucas meets Andrew, the time of their affair, and a chaotic New Year’s Eve with his family, without context. Because the audience is forced to keep up with the when, it slightly distracts from the what and the who. In the final act, the story smoothly comes together, but it may have been more satisfying if it were less confusing in earlier scenes.
Lucas finds himself dissociating frequently from reality. This change in mental state is shown through home movie clips and lo-fi surveillance footage. Initially, the change between digital photography and Hi8 footage is off-putting, but it becomes surprisingly emotive as it creates a sense of Lucas’ debilitating anxiety. The way it gently weaves into the narrative creates an unsettling atmosphere that circles back to the idea that we are never truly alone in this surveillance state.
Lucas and Andrew don’t quite have a dreamy meet cute, but their story is strangely romantic. With little build-up or character set-up, you’ll root for this pairing as they start a secret love affair. It’s not provocative, but it is a sensual relationship between two men who know they will never truly be allowed to be themselves. The two actors fully commit to the physicality of their characters. Apart, they are uncomfortable in their own skin, yet together they find a solace unavailable to them when hiding in their day-to-day lives. The sexual chemistry sizzles between the two actors, which culminates in a raunchy yet tasteful sex scene that should be applauded for not censoring itself.
Tom Blyth and Russell Tovey are both outstanding on-screen. Blyth’s Lucas is on edge throughout the film, his eyes always darting around his surroundings. Tovey’s Andrew is more confident, having navigated this world for longer, he can verbalize how exhausting and lonely it can be to hide your true self. The centrepiece of Plainclothes is a family event during New Year’s Eve. Lucas spends the night frantically hunting for a lost letter, unraveling in real-time as his brash uncle (Gabe Fazio) and grieving mother (Maria Dizzia) weigh him down. The camera tightly pans in on these uptight, loud family members as secrets threaten to come to the forefront of the celebration. The scene builds and builds until it explodes, going in an unexpected direction.
The weaker element of Plainclothes’ story is Lucas’ relationship with his ex-girlfriend (Amy Forsyth). She appears in small doses throughout the film and fails to add any texture to the story. On the other hand, Maria Dizzia is spectacular as Lucas’ mother, Marie. Her performance so breathtaking, you could have added another 10 scenes of her grief and loyalty to her family.
An important reminder of dating for gay men before Grindr
Plainclothes is a film which works on different levels. It’s a sexy psychodrama about hidden love affairs and inner shame, but it’s also a much-needed reminder of recent queer history. Before Grindr, men had to meet up in bathrooms and pre-plan their trysts. Not even three decades ago, gay men risked arrest for lewd behavior by undercover cops in the public bathrooms.
While Carmen Emmi’s debut may seem far-fetched, he based it on real-life stories told by his police officer brother. Surveillance is used as another tool for homophobia here, and in the age of losing your job due to a social media post, Plainclothes has never felt more relevant.
Plainclothes is now in theaters.
Learn more about the film at the IMDB site for the title.
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