Sean A. Kaufman plays the title loser, a man named Roger who likes to do things like hit on women passing on the street and lounge around his apartment in a multicolored ganja robe. The film’s opening shows the depths to which this man has sunk, even if some of the presentation is over the top. For instance, it’s believable that Roger wants a life of irresponsibility and chooses instead to fill his apartment with marijuana smoke. However, it’s less likely that he would stroll out to pick up more pot dressed in this robe – or that his ex-girlfriend would bring her child to such a den of abandon in the first place. But some creative license is expected.
The script – and Roger – cling on to this idea of immaturity for as long as possible. A visit from his ex, a woman named Sadie (Kim Paris) is filled with some familiar tropes. The father that doesn’t want responsibility and relies instead on yelling and insults to convince us – and perhaps himself – that he’s not ready. The woman who can’t raise the child on her own and needs his help. The yelling and protestations that its protagonist holds onto until he can do so no longer. The material has been covered by other films, such as the endearing “Instructions Not Included;” and while slow to start, similar emotions are captured here.
Independent media is the right form for a story like this. Too often Hollywood likes to sprinkle films like this with pratfalls and hijinks meant to derive laughs at the father’s expense as he navigates early fatherhood. Films like “Big Daddy,” and “3 Men and a Baby” make us laugh, but not necessarily understand. We may detest Roger at the beginning of “Maturing Youth,” but by the end we believe his transition, which is the largest measure of the film’s success.
The acting is varied, and for the most part, effective. Paris is good as Sadie, and comes across as authentic and real. The scene where she shows up at Roger’s door, covered in a hooded winter coat and holding her son, is among the best visuals in the film. The script uses her character well – not only as plot device to bring Roger’s son into his life, but to further the story. Through her we learn that Roger, unemployed, is kept in his accustomed lifestyle by checks sent to him by his mother. Aligning with Roger is nearly impossible at the film’s opening, but, over time, we do grow to accept him.
As Roger, Kaufman does a good job, though I question some of the script’s decisions, such as his utterly insulting behavior towards Sadie at the film’s opening. “You look…not fat,” he narrates in one scene. His lines make his character hard to root for, almost pushing Roger into unbelievable heights – but Kaufman makes us stick around, a credit to his performance. By the time he calls a doctor to see the child who appears to be ill we see a change taking place, even if we know some more protestation is needed before his ultimate turn.
Note should also be given to Joshua St. Leger, who plays the child (named ‘Junior’) who is lovable and extremely watchable. It is only through a performance like this, and his unconditional love of Roger’s character, that we see the parts of his father that are worthy of being redeemed.
“Maturing Youth” features a bright soundtrack, with songs such as “Earth & Sky” by Nick Patky and “Let Me Go” by Jason Miton. The film makes a good case for parental responsibility and change, even if it does borrow themes from films such as “It’s a Wonderful Life” in the process. The characters are nuanced; though there’s a depth to Roger that is hinted at but not explored, at the end of the film you’re still pleased to see it end as it does. With watchability and morals, “Maturing Youth” is a nice effort.
– by Mark Ziobro
