Dealing with heavy themes of loneliness, mental health and suicide, ‘The Perks of Being a Wallflower’ may not astonish when it comes to its visuals. But through its strong performances, heartfelt story and well-written script (aside from one or two cliché lines), the film soon becomes a very sincere and captivating adaptation of the acclaimed coming-of-age novel many grew-up with when it released in 1999, now being seen as one of the best teenage dramas in recent years.
Plot Summary: Fifteen-year-old: ‘Charlie’ is a socially-awkward teenager heading into his first year of high-school, used to watching life from the sidelines, ‘Charlie’ soon discovers the joys of friendship, love and music as the free-spirited: ‘Sam’ and her stepbrother: ‘Patrick,’ open his eyes to the real-world. But when his friends prepare to leave for college after graduating high-school, ‘Charlie’s inner-sadness threatens to shatter his newly-found confidence.
In a rare scenario, the film adaptation of: ‘The Perks of Being a Wallflower’ is not only based on the novel of the same name by Steven Chbosky, but is actually written and directed by Chbosky himself. As originally, beloved writer/director John Hughes, the comic genius behind: ‘The Breakfast Club’ and ‘Sixteen Candles’ amongst many other 80s teen flicks, was intended to direct the adaptation, initially wanting to make the film into more of a dark comedy with Shia LaBeouf set to play ‘Charlie,’ Kirsten Dunst as ‘Sam,’ and Patrick Fugit as ‘Patrick.’ But with Hughes sudden-death in 2009 stalling the project, his script was eventually scrapped as he’d not completed it before his passing, leaving Chbosky to take the reins.
Throughout the entirety of the film, the main trio of friends are portrayed wonderfully by Logan Lerman, Ezra Miller and Emma Watson, in one of her first roles following the end of the ‘Harry Potter’ series. As each member of the young cast display plenty of range with their respective characters receiving an almost-absurd amount of characterisation alongside, resulting in all three of the central protagonists soon forming a real bond with the audience through their lovable yet realistic portrayals of high-school teenagers. Well-known comedy actor Paul Rudd also appears within the film as ‘Mr. Anderson,’ using his natural charisma to portray a genuinely kind-hearted teacher, guiding ‘Charlie’ to what he believes is his future career as a writer.
The film’s cinematography by Andrew Dunn is noticeably where the filmmaking dips in quality, as despite the camerawork occasionally allowing for some interesting framing, such as when ‘Charlie’ is framed alone with only bare walls surrounding him, visually presenting him as an outcast due to his anxiety when interacting with others. Most of the film’s cinematography feels fairly mundane, with the colour palette in particular, seeming very confined, always utilising quite warm/calming colours regardless of what’s happening within the narrative. However, with that said, near the end of the runtime, the film does manage to impress with its editing as ‘Charlie’ begins to suffer from a panic-attack, represented through the film cutting rapidly between an array of previous scenes, ensuring a feeling of being overwhelmed within any viewer whilst watching.
From iconic songs such as: ‘Heroes’ and ‘Come on Eileen,’ to the beautifully somber original score by Micheal Brook. The entire soundtrack for: ‘The Perks of Being a Wallflower’ is both graceful and immensely under-appreciated, capturing the film’s many alternating tones, whether that’s its unrelenting isolation, or its upbeat bliss. But my personal two favourite tracks have to be ‘Charlie’s First Kiss’ and ‘Shard,’ a pair of tracks that are both truly touching pieces of music, evoking emotion in any listener in spite of their simplicity.
Another aspect of the film I adore is how it represents high-school, as while many coming-of-age flicks usually lean into the idea of high-school being an often chaotic but satisfying experience. ‘The Perks of Being a Wallflower’ never glorifies school, refusing to represent it as either a positive or negative place. This all backed-up of course, by the story’s interesting themes which the film handles with care, never overemphasising it’s concepts in a similar fashion to the source material. Also in-line with the original novel is the film’s apparent 1990s setting. Yet with the exception of the numerous mix-tapes the characters listen to, you’d be forgiven for being unaware that the film even takes-place within this time-period, as its never mentioned nor plays-into the film’s style.
Overall, ‘The Perks of Being a Wallflower’ is deserving of all the praise it receives. As while the film’s uninspired cinematography does leave some room for improvement. For a directorial-debut, Stephen Chbosky really knocks it out of the park here, with brilliant performances and very underrated original score, the film is truly an adaptation to be admired. And regardless of whatever time-period its story is set within, many of its themes/messages are timeless, and I personally believe this is what any other films focusing on troubled teenage characters should strive to be. Final Rating: 8/10.