RUTHERFORD ON FILM: ‘Kinky Boots’: Light-Hearted, Intensely Provocative Film Explores Adapting to New Realities – of All Kinds
By Tony RutherfordHuntington News Network Critic
Huntington, WV (HNN) -- Facing an industrial downturn, a family- owned shoe factory in northern England depicts a business and social metaphor that imprints the necessity for adaptation, flexibility and change.
Harold Price had manufactured cross stitched conservative wingtip men’s shoes, but, after the death of his father, Charlie (Joel Edgerton) learns that his dad planned on closing the factory. After learning about the firm’s loss of a large contract, he has the grueling task of informing long time friends and employees that they no longer have a job.
Inspired by a worker’s rallying cry that the company find a “niche” market instead of closing, the man ventures to London, where he unsuccessfully attempts to stop a mugging of a “woman” in the alley behind a club. Once awakening from the stupor of a well placed blow, he finds himself backstage in a theater, where Lola, a drag queen performer (Chiwetel Ejiofor), has a strong sense of audience connection and talent.
However, Lola (a.k.a. Simon) complains that other performers such as him have difficulty obtaining durable and comfortable footwear as a man’s weight distribution is not the same as a woman’s. Now, the one chance to preserve factory jobs hinges on a long shot --- manufacturing stiletto boots for cross-dressing males.
“Kinky Boots” has an upbeat musical score ( yea, Ejiofor and his fellow performers sing and dance well), which diminishes the subject matter from becoming too “mature.” By essence, the fantasies of a live show in front of hundreds partially offset the close mindedness that brand the factory’s new found designs as “porn wear.”
While Lola has a pseudo glib viewpoint of his cross-dressing (welcoming men, women and those undecided), his choice separated him from his family. And, despite the need for the economic security from a money making factory, some workers have a prejudicial skepticism toward the new shoe designs.
Interestingly, director Julian Jarrold allows conflict to ebb and flow among his cast, as one sequence has a strong, arm wrestler mocking the factory’s potential niche, another pits the young company president against his materialistic fiancé Nicola (Jermima Rooper) , and even Charlie and Lola spar over discretion.
Filled with lighter moments , such as a grand-motherly land lady bluntly asking Lola, “Are you a man…just so I know how to leave the toilet seat,” the film wisely avoids deep thoughts on the perceived perversities of a transvestite “drag queen,” preferring to emphasize a broader perspective --- the choices faced by workers in order to keep their jobs. Actually, the lightness beams again when Lola joins a “what do women want” discussion and quips, “Who do you think I am, Oprah?”
The nature of Lola’s sexual orientation remains slightly vague --- for rating reasons or otherwise --- as he does not openly display affection towards men. Several scenes have him “defending” his dress by arguing “women like men with feminine qualities” and how you can be a woman and still “wear a frock.” Those lines may have intentional vagueness, but a superficial check of historic references to “drag queen” performances state that “many are straight men.” And, of course, no one would automatically brand Dustin Hoffman, Jack Lemmon or Tony Curtis automatically “gay” when “disguised” as women. However, in fairness, Ejiofor’s portrayal of Lola does not proclaim a similar “disguise” circumstance and more revelation would start injecting “spoilers.”
Actually, the vagueness further galvanizes the “diversity” issues and prejudices of the traditional minded citizens of Northampton. (Ironically, women used to do the same type of cross-dressing as men, but most male appeal has been adapted for females). Ejiofor previously had strong male roles such as a detective (“Inside Man”) and an operative (“Serenity”), yet here enjoys playfully “toying” with assigned gender roles as he delicately walks the catwalk with qualities of both genders. Most of the conflict flows not from his attitude but other’s reactions to his choice of attire.
However, the town’s struggle with the “boots” can be analogized to the acceptance of other now less controversial social roles and social stigmas.
School dress codes have sometimes been implemented to prevent stereotyping from economic prosperity (or the opposite) based on clothing selections. Yet, these “codes” change with time and style, as for instance schools at one time banned “girls” from wearing pants. Some changes bring greater equality, yet, here, the challenges mean bread and butter for the workers, who in another decade might find themselves appalled by union representation or allowing women (or men) to work in certain positions.
“Kinky Boots” merely provides a canvas for these provocative and philosophical questions to be ingested. It’s more about upbeat music, occasional comedic guffaws and how teamwork stamps a brand of excellence on products.
(The film shows today, Oct 2 @ 5:30 p.m. and Oct 5 @ 7:30 p.m. at the Keith Albee as part of the Marshall Artist Series International Film Festival.)