啦啦队长 But I'm a Cheerleader(1999)

又名: 恋恋模范生 / 我是啦啦队员

主演: 娜塔莎·雷昂米歇尔·威廉姆斯巴德·库特敏科·斯荳鲁保罗凯西·莫拉蒂艾迪·斯比安梅兰妮·林斯基克里·杜瓦尔凯瑟琳·汤 Brandt Wille Katie Donahue Danielle Rene Katrina Phillips Joel Michaely

类型: 剧情爱情同性

制片国家/地区: 美国

上映日期: 1999-09-12(美国)

片长: 85分钟 IMDb: tt0179116 豆瓣评分：7.3 下载地址：迅雷下载

简介：

个性活泼开朗的梅根（娜塔莎·雷昂 Natasha Lyonne 饰）是校园拉拉队的队长，亦是男生们仰慕追求的对象。然而，在误打误撞之中，梅根竟然被父母误会是同性恋，而被送往了“治疗”同性恋的同情恋矫正学校之中，在这里就读的，都是被认为有同性恋倾向的年轻男女们。

演员：

影评：

《啦啦队长》（But I'm a Cheerleader），是同性恋电影或者说酷儿电影里“青春一派”中比较特别的一部。绚丽的色彩和初恋的纯真营造出童话般的超现实味道，用一个特别的群落的快乐来反衬整体的压抑，进而表现对社会的讽刺。

影片的主角是个高中啦啦队的队长 Megan。她被她身边周遭的人，父母亲、同学、老师还有男朋友，一致认为是个同性恋。为了纠正她的“毛病”，今后能恢复被认同的正常人的生活，在其他人的配合下，父母亲将她送到了名为“正确方向”的同性恋调整集训营，进行康复治疗。

而Megan自己呢，还从来没有意识到自己是个同性恋，虽然她会特别注意其他啦啦队员的身体，贴的海报都是女性的，而且不喜欢男友热情的亲吻。其实并不是说她对这些没知觉，只是她并不觉得这不正常。
来到集训营后的第一步，是要承认自己是个同性恋。这并不是一般意义上的自我身份的认定，而且恰恰相反，这是一种否定，承认自己非正常、是常人眼中的异类，会带来巨大的压力和恐惧，然后或隐藏压抑，或就过着给别人看的生活而完全失去自己。
承认自己有问题后，就要来寻找“病因”了。集训营里学员们想出了种种理由：母亲是穿着裤子结婚的，运动员经常一起洗澡，读女校，喜欢玩球，胸部受伤，出生在法国等等。在引导之下，Megan想出来的原因是曾有一段时间父亲失业母亲承担起了整个家，她看在眼里结果就可能把男人和女人之间的角色搞混了。其实所谓“病因”本身是什么并不重要，而是作为否定式认定的重要一环，承认有原因就等于承认并非是自然正常的，可以被改造，并且如果牵涉到家人，就有了更有力的监督者和帮凶。

集训营的改造步骤，除了上面提到的“理论”部分，还有“实践”课程。男生学习修车，玩打仗游戏；女生则学做家务，化装穿礼服等等。要从集训营成功毕业的最后考验，是进行“模拟男女性交”，能顺利通过的话，表示以后就能恢复适应正常的男女关系了。
这样的改造有用吗？当然没用，根本出发点就是错误荒谬的。但那些自以正统的人并不在乎你究竟是什么样的人在想什么。他们在乎的是统一，服从，遵守规则，以及强势控制下的表面的和谐。集训营中有的人其实并非同性恋，比如长的男性化一些喜欢打垒球的女生和有些娘娘腔的男生，他们被抓进来只是因为他们和其他人有些不同罢了。
将人分类，然后再抹杀差别，这是很恐怖的。

虽然这样的一个同性恋集训营代表了社会的一种不良观点和态度的缩影，但影片在表现的时候没有强调压抑和僵化，反而是处理的妙趣横生，鲜明的对比之下，向观众的传达有了一种更好的效果。

首先，虽然是打着集训改造之名并且严格监管之下，但将同性恋们集中到一起，朝夕相处，简直就是一个同性恋天堂了。
集训营里除了女主管，其他都是同性恋或有类似特征，包括女主管的儿子和曾经过改造后留教的男教官，他们都一色的紧身背心加短裤，极尽诱惑。附近还有一家由一对同性恋伴侣开的酒吧，他们也曾和集训营有过瓜葛，但现在随时准备着临时接纳中途犯戒被开除的集训营学员。这些安排都讽刺意味十足，并表达了非主流人士的态度和声音。
前面说到了改造的第一步就是“自我否定”，但这只是有些人的一相情愿而已。见识到种种离谱的改造行为，以及伙伴之间的相互影响，更能清楚的认知自己。Megan就在集训营中认识了一个女孩，并有了真正的爱情，最后两人抛开种种干扰一起去开创属于她们的生活。

影片的最后一幕，出现了另一种“集训营”，参与者是有同性恋儿女的父母们。的确，他们才是要被改造的。
青春，性，喜剧。众星云集，cast真的让人就激动。双关语和笑料叠出不穷，娱乐性十足。
意料之外的精彩和深刻。九十年代的同志影像是有先锋性和强大的queer精神的（准确的说是，断背山之前的同志影像，没有大众伤感和电影商业的大举介入前）。queer是不正经，诙谐，和反其道而行之，是一种精神，状态和思维，但是不是一种身份。我非常喜欢断背山之前的同志影像，诸如Trick，beautiful thing和watermelon等，它们有着完整的queer精神。用喜剧来表达尖锐的社会问题，用嘲讽来反抗死气沉沉的霸权。但是在断背山取得巨大的商业成功和艺术成就的时候，同志影像市场被电影商业的嗅觉发现，从此丧失了它的queer精神。同志的平权运动也在这个时候将同志作为身份搬上政治舞台，同志话题/影像一边牵动着消费者的钱包，一边吸引着选民们的选票。回到电影本身，是女导演的处女作，但是对话，情节设定和服装已经非常经得起推敲。女主角的少女情怀/初恋在一个巨大的粉色泡泡里；社会规范也体现在服装的颜色上，但确是深深的讽刺；最butch的女生是异性恋，最American最girly的女主却发现自己是les。
但是如果只是这样表面地阐述性别和性取向议题，那么它如何能成为经典。电影叫But i m a cheerleader，剧中后半段也讲了为什么，女主发现自己爱的事情，对女性身体的爱以及cheerleading。最后一幕，戏仿经典romcom的runaway bride桥段，在“婚礼”/毕业礼上私奔，是因为女主用自己所爱之事打动了所爱之人。“you re more than a sissy”，同理女同志也不是一个身份，它只是一个符号，一种生活方式，一种你爱的事。通过我们爱的事，我们最终是到达自我，发现自己，所指是自己的生命。电影深刻的地方也在这里，cheerleading和lesbianness平行互文，深刻道明queer的本质。你不是女同志，不是女人，除非你申明自己i m a homosexual，你才成为此。它不应该成为一个限定我们人生选择和成为谁的标签，真正的自我是通过这样的角色和体验被自己认识到的。也许正如queer一词的原义之一，弯曲的，离心的；走一条不俗套的路，到达真我的彼岸。
女主Megan是个拉拉队员，有个篮球队员男友。突然有一天，她的家人朋友一致指控她是女同性恋，因为她是素食主义者，在房间和柜子里放女性海报及装饰，并且不愿和男友接吻。（女同和素食主义者的刻板印象到底是怎么来的？ Megan认为这简直是无稽之谈，但还是被迫来到了治愈中心，在众人的帮助下，她认清自己确实是个“拉拉”队员。在这里她遇到了一个帅t叫Graham，两人针锋相对，但经过一系列互动感情逐渐升温。尽管大家都很积极地想变直，但乱七八糟的疗程下来不仅没什么用反而让他们更加春心荡漾（所长的儿子烧烧的老跟助教眉来眼去）。一个晚上几个人溜去gay吧，Megan和Graham在别人怀里却眼望对方，终于突破了暧昧的界限。两人就这么背着其他人畅游爱河，不料同床共枕后的第二天早上被抓到，Megan被赶出中心，Graham则迫于父母的压力留了下来。最后，Megan赶到毕业典礼上用拉拉操当众向Graham告白，两人乘车驶向幸福的远方。好喜欢这种酷儿青春性喜剧，复古又有一种永不过时的味道。没有大段的演讲，只是幽默俏皮地揭示了性别二元论有多么可笑，告诉我们那个再简单不过的道理：做自己。
Two USA indie coming-of-age comedies starring Natasha Lyonne, the archetypal misfit gal of the late ‘90s, both are feature debuts of two female filmmakers, which have gained their respective cult status as time elapses.
Tamara Jenkins’ SLUMS OF BEVERLY HILLS brings audience back to Beverly Hills in the ‘70s, sans glitter and glamor. Awacky family of four, Murray Abromowitz (Arkin), an unprosperous automobile salesman and his three children Ben (Krumholtz), Vivian (Lyonne) and Rickey (Marienthal), subsists on a nomad-like existence, moving from one cheap apartment to other, beholden to the financial support from Murray’s wealthy elder brother Mickey (Reiner).
Their living condition improves when Mickey’s daughter Rita (Tomei) escapes from a rehab facility and stays with the family, under the pretext of Rita attending a nursing school, the family secures more subsidies from Mickey. But Rita is a loose cannon, a 15-year-old Vivian cannot keep her in check, plus she has her own teen angst to deal with, like the nascent uncomfortableness towards her growing breasts and the anxiety/curiosity of losing her virginity to Eliot (Corrigan), a 20-something lad wearing a Charlie Manson T-shirt.
For what it is worth, SLUMS… is unabashed of being defined by its feminine fulcrum, you can find a gallimaufry of bras, bare breasts, vibrator, menstrual belt and secret pregnancy cropping up amusingly down the road, but Jenkins doesn’t belittle them by ridicule, they are important in a girl or woman’s life, and how many times a film can regard them without sexualizing them? Again, it is of high import to put a woman in the rein to subvert the decades-long tired male’s prospective, and SLUMS… sets a fabulous example here.
The pig Latin between Tomei and Lyonne is a juvenile delight, also suggests a special bond between their characters. Tomei is a gas for her unstrained expressiveness, Rita is a wreck, but Tomei builds her kookiness upon her innate kindness, so she becomes a fuller person you can relate to. Arkin, inching to his usual curmudgeon persona, is both aggressively funny (the fork-stabbing anecdote) and exasperatingly unreconstructed (often assumed by others as the children’s grandfather because of his age, Murray’s wounded ego needs to be reassured that he is still in his prime), Murray is all carapaces and spikes, the only time he betrays his weakness, the shock is legitimate.
Then there is a frizzed Lyonne, acting fairly beyond Vivian’s age, she is a puzzled teenager, but also has an assertiveness in her that makes Vivian the one who actually has her feet in the ground, she is the one who unites the family together.
However, in Jamie Babbit’s BUT I’M A CHEERLEADER, released one year later, her hair is straightened and Lyonne stupendously injects a veneer of naivety to play an all-American, 17-year-old cheerleader Megan Bloomfield, who is suspected by her parents and friends as a latent lesbian (the tell-tale signs are difficult to argue), so she is sent to a conversion therapy camp called “True Directions” to cure her homosexuality, but what happens there is a delectable sexuality awakening experience. Why girls and boys sleep separately in the camp? One might think the very first precaution is to stem any occasion for same-sex sexual attraction, right?
Truly, Babbit’s enormously funny satire has more leanings in lampooning the heteronormative insularity and the society’s benighted mindset of judging by stereotypes than in laying it on thick to fight against homophobia. Rounding up a miscellany of sexually ambiguous prototypes (Jewish, Asian, Hispanic, Black, jock, sissy, goth and tomboy, Babbit has a bent for diversity way earlier than it becomes a norm), the story meanders through the therapy’s five-step program, under the clutches of Mary Brown (Moriarty, the throaty-voiced schoolmarm in shocking pink) and her assistant, the ex-gay Mike (the one and only RuPaul, obliviously ogling the fine specimen of Eddie Cibrian), and its garish confection of pink and blue (denoting the gender dichotomy) is a pre-Candy Crush doozy. Just like Jenkins, Babbit’s feminine disposition calls the shot here, and we are all grateful to that.
Megan’s romance with Graham (DuVall, who is out and totally in her elements with brio and finesse) also inverts the typical butch/femme ideas, although the movie is too candy-coated to have anything to jeopardize the happy ending, but the promulgation of PFLAG (Parents and Friends of Lesbians and Gays) is the most sensible message from this unconditionally queer oddity, it even makes any number of John Waters’ movies erring on the side of virility.
Although both Jenkins and Babbit been keeping working in the business, but the potentiality manifested through their debuts fail to secure a prolific career for both of them, Jenkin hitherto has only 3 features under her belt (THE SAVAGES, 2007 is a masterpiece deconstructing the sibling rivalry), and Babbit’s filmmaking activity tails off after four pictures, and now makes high-quality comedies in the television department. For those who bemoans the paucity of mainstream female filmmakers in Hollywood, it is not for want of talent, but thanks to opportunities snuffed by sexism, and lastly, a shoutout to Lyonne, for her affinity and support with budding women directors, something now every major Hollywood star should practice instead of merely serving lip service.
referential entries: Jenkins’ THE SAVAGES (2007, 8.1/10); John Waters’ POLYESTER (1981, 6.6/10); Miranda July’s Kajillionaire (2020, 7.3/10).
Title: Slums of Beverly Hills
Year: 1998
Genre: Comedy, Drama
Country: USA
Language: English
Director/Screenwriter: Tamara Jenkins
Music: Rolfe Kent
Cinematography: Tom Richmond
Editing: Pamela Martin
Cast:
Natasha Lyonne
Alan Arkin
Kevin Corrigan
Marisa Tomei
Jessica Walter
David Krumholtz
Eli Marienthal
Carl Reiner
Rita Moreno
Mena Suvari
Jay Patterson
Rating: 6.6/10
Title: But I'm a Cheerleader
Year: 1999
Genre: Comedy, Drama, Romance
Country: USA
Language: English
Director: Jamie Babbit
Screenwriters: Jamie Babbit, Brian Peterson
Music: Pat Irwin
Cinematography: Jules Labarthe
Editing: Cecily Rhett
Cast:
Natasha Lyonne
Clea DuVall
Cathy Moriarty
RuPaul
Melanie Lynskey
Katharine Towne
Joel Michaely
Katrina Phillips
Douglas Spain
Dante Basco
Kip Pardue
Eddie Cibrian
Bud Cort
Mink Stole
Wesley Mann
Richard Moll
Brandt Wille
Michelle Williams
Julie Delpy
Ione Skye
Rating: 7.1/10