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Undercurrents of teenage cruelty emerge curiously in Charlie Pollinger’s stylish debut feature, “The Plague.”
The title of Pollinger’s film may bring to mind Stephen King or recent global history, but “The Plague” is set entirely around the clean, chlorinated pools and shady hallways of a water polo camp circa 2003. There, 12-year-old Ben, a scrawny and sensitive child, comes for a second session. This is an important detail: Is there anything scarier than joining a summer camp where friend groups are already established?
But there’s really only one group: a vulgar and boisterous group led by a cheerful, cocky kid named Jake. And there’s an outcast: Ellie, the kind of 12-year-old who’s obviously smart but whose awkward, introverted behavior and fondness for magic tricks and things like “Les Miserables” make her essentially an outsider. He is also covered in acne and has rashes on his back. Jake and everyone else say he has the plague. “There’s no cure for that,” Jake tells Ben.
These are the troubled waters of times to come in which “The Plague” swims. From the beginning, it’s clear that Pollinger, who also wrote the film, has a keen eye for both the glittering surfaces and the horrific suffering lurking beneath. “The Plague” isn’t breaking new ground by any means when it comes to teen angst; This is a film dealing with fifteen very recognizable types. But Pollinger’s talent for crafting ominous, suspicious atmosphere and perceptive teen dynamics makes “The Plague” an auspicious debut.
While coming-of-age stories have played out before on baseball diamonds and football gridirons, water polo’s deep pools are a more novel setting. From the beginning, working with cinematographer Steven Bracken in 35mm, Pollinger’s camera moves quickly toward a quiet frenzy underwater: kicking legs and agitated bubbles. Their entry into adulthood is like sink or swim, with nothing to stand on.
When his coach asks what water polo is about, he calls Ben, who says: “Working together as a big family, or whatever.” But far from collectivistic, the world of “The Plague” is primal and existential. The coach is kind but ineffective. Parents are distant and unreachable. It’s “Lord of the Flies” in the pool.
This connection is most evident one night when the boys sneak out to an abandoned building, light a bonfire, break a bunch of stuff and watch Ellie – who is usually not even allowed in their presence – dancing around wildly. Ben is more sensitive than Jake and his friends, and appears concerned for Ellie as soon as she arrives. But he’s also more concerned about his weak-at-best place in the group, and he uses this moment to bump into Ellie, knock her down, and then pretend to clean off any “plague” residue on her arm.
In “The Plague”, exclusion is as permanent and irreparable as any epidemic infection. As big screen goons go, Jake is a classic, played with terrifyingly sly malice by Martin. Jake is not taller or stronger than the rest, but he has the ability to maturely manipulate her to her weak points. He doesn’t so much do a putdown as he repeats an awkward answer and leaves his victim reeling in the air. Psychologically, he outweighs the rest.
It’s quite clear that “The Plague” is headed toward some explosion of violence. Eli looks a bit like the young Vincent D’Onofrio in “Full Metal Jacket”. However, in “The Plague” the pain manifests itself internally. The saddest thing about this is that Eli also thinks that the “plague” is real, that there is actually something wrong with him. After befriending him for a while, Ben gets his own pimples and rashes. Does he want to convince others that there is no such thing as a “plague”, or does he simply want them to know that he does not have the disease?
Polinger’s film is not comfortable viewing, and it shouldn’t be. It gets under the skin. That it is partly derived from its director’s own memories is certainly a source of its potential. Yet because this is a movie about childhood that’s clearly not for kids, one might come away from “The Plague” grateful to leave adolescence behind. It’s a movie that makes you more grateful for adulthood, while also renewing your empathy for those who are still going through such difficult situations.
The Independent Film Company release “The Plague” is rated R by the Motion Picture Association for language, sexual content, self-harm/bloody images and some drug and alcohol use – all involving children. Running time: 93 minutes. Three out of four stars.
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