‘Love Type D’ A Semi-Satire About ‘Born Losers in Love’
Obsessive love stinks. When women or men are attacked by Cupid, they may move on a scale from fools to killers. Love is potent stuff. But what happens if you have a gene to be “lucky in cards and unlucky in love?” Love Type D written and directed by Sasha Collington is a crowd pleaser that removes you from reality which is a necessity, but it also disavows the serious topics it touches upon with a too light tone. A missed opportunity for this comedic, ironic film.
The premise is high concept; it is easy to understand how the pitch for this film worked. However, in its execution, the plot has dead spots, ups and downs, moving from laugh riot (infrequently) to gentle gruntles to “yeah, ho hum.” If only it mined the gold in the themes it touches upon! The group ensemble scenes work well as do some of the implausible farcical moments. The background music “mostly lighthearted” not so much.
Frankie Browne (Maeve Dermody) winsome, twenty-something in love with Thomas Lacey (Oliver Farnsworth) waits for him at a lovely London restaurant for their romantic dinner. Surprised by 11-year-old Harry Potteresque Wilbur (Rory Stroud) Thomas’ brother, she wilts at the message Wilbur gives her. To avoid a scene, Thomas has sent the pipsqueak to break up with Frankie forever in a humiliating, abrupt, “let her down hard so she can’t come back to bug me” way. The devastated Frankie attempts to discover why Thomas has dumped her to no avail.
To make matters worse, Wilbur who is involved with his friend in a research competition takes advantage of her neediness. He eventually reveals (Frankie pries it out of him) that she most probably has a “loser love gene.” Her love relationships starting with tweenhood have ended worse than badly; she reflects about her past loves. Collington fills in her heartbreaks with two flashbacks. Look for Natacha Basset playing the young Frankie.
As many women are wont to do, Frankie judges her past eleven breakups through the eyes of her failed relationship with Thomas. She must have an inherent fault as a “love loser,” a liability in her DNA, says scientist Dr. Elsa Blomgren (a scary Tovah Feldshuh). She is a Type D (the dumped on type). As commercials do subliminally, the ones made by Epigenica featuring Dr. Elsa promote guilt and pile on condemnatory negativity, converting watchers to losers in every aspect of their lives, particularly in love. Affirmed again and again as a loser, Frankie watches the sales pitches and becomes convinced that via Type D, she irrevocably has been and will be dumped in love relationships. It’s terribly depressing, and an imperative to purchase a $500.00 test to see if genetically she is destined to be dumped eternally.
In human beings’ worst moments, including suicidal moments, the misery of humiliation, the thought of being a loser, and feeling that things will never change have persuaded more than a few to end it. The film flirts with this notion of love’s impossibility and nihilism in the human heart and mind. And it flirts with the gene theory of irrevocable inherent inferiority (rather fascist, master race stuff) as a subliminal, noxious message. However, this message is converted mildly to farce and keeps that terror at bay with light humor.
There is a missed opportunity here. The farce could have been broader and more extreme. That Frankie so willingly accepts this “scientific” designation is alarming. And somehow, the signals are muddied as we laugh. If the humor was darker, more sardonic, the film’s themes would have been strengthened. But that involves adding a character with a critical, observer’s eye and that character of reason is absent in the midst of those who are either “perfect” or “inferior.” (a main problem with the plot and themes of the film)
Frankie, with the help of Wilbur, eventually goes through a journey of twists and turns, some of which are hackneyed, others surprising. First, after getting tested for the gene and finding she is irrevocably a loser, she collaborates with her work colleagues in a love loser cult of “woe is me.” Some of these ensemble moments are beautifully paced and LOL funny.
However, in her attempt to still reconcile with Thomas, who has picked a lovely winner for his girlfriend (an astronaut, fit, brilliant, to be envied) she eventually works with Wilbur to find a solution to the “love loser” problem. Wilbur and his friend have discovered if the losers dump their first love to reverse the “curse” of being dumped and do this with all those who dumped them, then the gene will somehow switch off. It is at this point that the plot goes into the stratosphere and not necessarily in a good way. However, for all those who have “lost” in love, been defamed, humiliated, reduced to worms and slugs, the idea to “dump the dumper” is appealing, if not vengeful and psychically/emotionally unregenerative and narcissistic.
Frankie is such a loser that she is “stuck” on trying to get Thomas to love her. She uses every deception with the help of Wilbur (hypnosis to name one) to get close enough to “dump” him. However, Cupid’s arrow is so deep, she’s a hopeless case. Her obsession is so ridiculous, that he is forced to take out a restraining order against her. By this point older, seasoned women will throw up their hands in exasperation, while younger women will be rooting for her, indignant at the cruel and heartless Thomas. Meanwhile, Frankie’s work colleagues have been successful at going back and reversing the tables with former boyfriends/girlfriends by dumping them.
In a Deus Ex Machina (the miraculous intervention) solution, Wilbur and his friend develop a liquid “Love Potion Number 9” made of pheromones at “elephant strength,” (that’s how much of a turn-off Frankie has made herself to Thomas) to use on Thomas to get close enough to dump him and trigger a reversal of the gene. The scene at the nightclub where Frankie croaks out a song which the power of the potion converts so that she has the voice and allure of Katy Perry (all the men including Thomas are entranced) is hysterical.
The conclusion ties up neatly with a protagonist who walks into the camera speaking her wisdom philosophically. But the depth of what she has learned is surface and the danger of what she and others have missed in all of the machinations of cultural definitions of success and failure, genetic engineering for “success,” and mastering ourselves so that we love ourselves “for who we are,” remain unsatisfactory. But, since it’s all in good fun, it doesn’t really matter what we consume, does it?
Love Type D screened at the Charlotte Film Festival, Manchester International Film Festival, RiverRun International Film Festival and Washington DC Independent Film Festival where it won awards. Look for it screening online 9th July.