AT FIRST GLANCE Easy A is one of those All-American high school films which make me go "I will watch this at some sleepover. Two years from now. On a pirated DVD from Hong Kong." The trailer made me yawn and irritable for more reasons than one - I was fixated upon the line where Olive Penderghast (Emma Stone) says "Tom Cruise?" with a scrunched-up face to Amanda Byne's pious remark about some higher power judging indecencies. I didn't get it, and I still don't. When I watched the film I winced when it came to that line. Somebody please explain?
However the premise of the film, bar that single irritating line, is adequately original. A modern take on Hawthorne's "The Scarlet Woman", Easy A scores high in its frank humour and refreshing focus on something greater than the usual fare of tension between girl loser, popular hotties and desirable male figure named Corey X. Sadly, the fact that such an archaic concept of "hating on the whore" still makes perfect reasonable sense today is a disappointing reflection on feminist standings and gains. What's more interesting is the entrepreneurial aspect of Olive's decisions to get in the red. It's more or less a tale of "girl sells illusion of sex for money". Whilst there is no actual hanky-panky going on, there's some kind of socio-tabloidesque prostitution happening here which I don't have a certifiable opinion on, but it's certainly interesting. "Let's not, but say that we did" - marketing for teenage abstinence? Or perhaps pathological lying?
The best scene I must say, comes early on in the film when Olive turns down a camping trip with 'Big Tits' best friend Rhiannon (Aly Michalka) to spend the weekend at home, belting out the lyrics to "Pocket Full Of Sunshine", courtesy of Granny's birthday sing-along card. Happily the incessantly groovy song makes a recurring appearance as Olive's ringtone throughout the film, a massive perk to be sure.
Another highlight is the genius casting of Olive's parents in the form of Patricia Clarkson and Stanley Tucci. Like the refrigerated-yet-still-fresh leftovers of the summer of '69, two such amazingly liberal and self-liberated parental figures could not be more welcome to teenaged viewers. Amazing people. And despite the clichéd appearance of the token black adopted kid (Bryce Clyde Jenkins), it's feasible in a family as chill as this one. Moreover it was probably inevitable that he got ticked off the list of 'what white people like'.
The portrayal of religious zealots in this film was another commendable take. Amanda Byne's overly-wholesome Marianne functions as little more than the conservative plot device to stir up opposition, whilst her boyfriend/family/devotees/cult members are largely exposed as hypocritical sex-deprived perverts. Go team!
At the end of the day all is good as every Hollywood teen film should be. Olive bows out gracefully with a song and dance, gets the guys she's meant to end up with and they ride off into the sunset on a lawnmower.
[disco.read]