Respond to these rapid questions in our Boy Erased quiz and we will tell you which Boy Erased character you are. Play it now.
“The Miseducation of Cameron Post,” a powerful period drama directed by Desiree Akhavan that was released only a few months ago, is the story of a young woman who survives a Christian “ex-gay” conversion therapy camp after being caught making out with a female classmate on prom night. In this film adaptation of Emily Danforth’s young adult novel, the title character (Chloe Grace Moretz) has a strong sense of self, with no signs of doubt creeping into her mind as she comes to terms with her sexual identity and struggles with the traumatizing rituals of the Evangelical camp she is hoping to escape.
“Boy Erased,” a poignant and similarly themed film directed by Joel Edgerton and adapted by Edgerton from Garrard Conley’s memoir of the same name, follows closely behind Akhavan’s debut feature. The two films are vastly different in tone, structure, and narrative goals, and they do not need to be compared simply because they deal with the same subject matter. However, the close proximity of their release dates almost begs for a side-by-side comparison to be made. As a result, it’s important to note that Jared Eamons, the troubled teen at the center of Edgerton’s film, doesn’t initially exude the same self-assurance as Cameron Post does in the first act. As a matter of fact, Jared’s coming out journey, as depicted in “Boy Erased,” corresponds more closely with the inner struggle of an LGBTQ person, which Akhavan, who identifies as bisexual, discussed during a post-screening Q&A session after the film’s premiere earlier this year in New York. He claims that many members of the LGBTQ community come to a decisive realization on their own time that the portion of the world who does not accept them is wrong and that they themselves are correct.
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Jared, played with startling nuance and complexity by Lucas Hedges (“Manchester by the Sea”), finds himself in the throes of the aforementioned reconciliation, which Akhavan articulated in his speech earlier this year. In his college years, Jared is told by almost everyone around him that there is something wrong with him and that he will not be loved by God unless and until he overcomes his homosexual impulses. Jared is the son of an evangelical Baptist pastor and was raised in a small, conservative town. A kind doctor (played by veteran actor Cherry Jones in a memorable cameo appearance) happens to be the only adult who privately informs Jared that he is a perfectly healthy and normal teenage boy. Despite this, almost everyone else refuses to acknowledge Jared’s true identity. When a soul-crushing sexual assault forces him to come out to his family, his authoritative father Marshall (Russell Crowe) and initially obedient mother Nancy (Nicole Kidman) enroll him in a conversion program run by the impassioned, self-appointed therapist Victor Sykes (Russell Crowe). The film is based on the novel of the same name by Stephen King, and it is set in the present day (Joel Edgerton). As soon as they are placed under the daily, 9-to-5 control of the villainous Sykes at his Love in Action facility, the young men and women relinquish their phones and other freedoms, and they are not permitted to discuss the details of their “therapy” with their guardians, who are patiently waiting at a nearby hotel.
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This is something that Cameron Post, a skeptic from the beginning, quickly realizes with the help of some equally strong-willed allies—that she must pretend and play along for a while. This is something that Jared has a significantly more difficult time figuring out, particularly given the lack of guiding voices in his life. In Jared’s case, the exception is his fellow camp inmate Gary (Troye Sivan, who is also the co-composer of “Revelation,” the film’s gloomy original track), who advises him to fake his way through the program until he can safely exit. The alternative is dreadful: Jared is determined to avoid the unpalatable fate of being forced to participate in Sykes’ program full-time for an entire year. As he progresses through the emotionally manipulative curriculum and constructs a family tree in order to trace the origins of his “sin” (as Sykes refers to it), heartbreaking suicides occur, much like they did in “Cameron Post,” as if by coincidence. The secondary members of Love in Action (one of whom is played by filmmaker Xavier Dolan) are given insufficient screen time in “Boy Erased” due to the script’s shortcomings. The later suicide, however, is particularly heartbreaking, as the episode creeps up on us after we witness the ill-fated character selflessly lend a helping hand to a vulnerable Jared, who desperately calls his mother for help in a time of deep crisis, before taking his own life. When Jared is trapped in this terrifying and escalating scene, Edgerton captures it with startling tension, creating a scene that is both impressively shot and tense. During that sequence, “Boy Erased” almost has the feel of a thriller for a brief period of time.
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The quieter scenes between Jared and his parents, on the other hand, are where the most emotionally charged moments of “Boy Erased” are delivered. As Nancy, the predictable excellent and heavily made-up Nicole Kidman brings forward her inner dilemma as a sweet, religious woman, who eventually leans into her motherly love, intuition, and common sense with confidence in a variety of over-the-top, true-to-character costumes. A haunting performance by Russell Crowe as a conservative but soft-edged father, who is finally forced to question his bigoted values, is delivered in an exceptionally measured performance, reminding us of what a fine actor he truly is (something we had almost forgotten between misfires like “Les Misérables” and “The Mummy”). Edgerton does a good job of navigating the delicate storylines of Jared’s parents, conveying that they act out of misguided love and a sense of urgency in the face of difficult circumstances. The ultimately rewarding transformation of Nancy and Marshall is what distinguishes “Boy Erased,” despite the fact that it is left a little on the surface and kept brief. No matter how flawed, Edgerton’s film aims to speak directly with parents like them in order to understand them better and maybe even help them change their hearts for the better.
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