The true story at the heart of Laurel Hester and Staciee Andree,
chronicled previously in Cynthia Wade's inspiring 2007 documentary Freeheld: The Laurel Hester Story,
makes an indisputable case for marriage equality in this country. That film
worked on a number of levels, serving to fire up audiences at the mistreatment
of two women whose love is treated as secondary to traditional unions. A lot
has changed in the years since; the Supreme Court's same-sex marriage ruling
has leveled the playing field on a national scale, and sadly takes some of the
fire out of Peter Sollett's well-meaning narrative drama. If poor timing were
the only problem plaguing Freeheld it could be easily overcome, but
it's actually in the transition from documentary to Hollywood feature that it
loses a great deal of steam.
As previously stated, Hester (Julianne
Moore) and Andree's (Ellen Page) story isn't without its share of thrills,
miscarriages of justice, and outright denial of the basic human right to love
who one wants. The problem is that Ron Nyswaner's screenplay goes out of its
way to make their situation as average as people. It doesn't help that the
central characters come across as unexciting, and their courtroom battles with
New Jersey's Board of Chosen Freeholders isn't much better.
What saves the film somewhat are the lead
performances by Moore and Page, the latter having put a lot of herself into
bringing this story to the big screen. Hester is a tough-as-nails New Jersey
cop keeping her sexuality tucked away in the closet, even from her loyal
partner Dane Wells (Michael Shannon, purely in good guy mode) who may have a
slight crush. Because she has to hide so much of herself, Hester is
essentially a loner until she meets up with the tomboyish Andree while playing
volleyball. Despite the vast age difference, the two hit it off and soon settle
into common domestic bliss. House with a garden, a dog, and bland everyday
relationship troubles. Much of the film goes by without any kind of tension
until a doctor's phone call reveals Hester's terminal cancer diagnosis, and
even that goes by without causing much of a stir.
The second half of the film is where the
conflict finally arises, as Hester battles with the board of Freeholders (Josh
Charles plays one) to make sure her pension goes to Andree after her death. Despite
state law allowing for that to happen, the conservative board rejects it so as
not to rile up their base of supporters who don't care much for the gays. These
encounters, mostly taking place in a tiny courtroom, hold little drama except
for the pang of sadness you'll feel at watching Hester deteriorate. But there's
also triumph in her defiant stance to make sure the woman she loves is cared
for and protected after she's gone.
Moore, who won an Oscar for playing an ill
woman in Still Alice,
is once again the film's driving force. Page is solid in a role that doesn't
require her to do much but stay on the sidelines and occasionally show signs of
anguish. Steve Carell blows in like a tornado as Steven Goldstein, the wildly
flamboyant head of an LGBT group supporting Hester's cause. It's possible that
Goldstein is every bit as animated as he's portrayed in the film, but the
moment Carell shows up it's like he walked in from some cheap Lifetime movie. Too much of Freeheld plays like a cinematic Wikipedia entry, minus any kind of drama.
The struggle for any biopic is to remain true to the story while adding the
creative flourish that every feature film needs, and Freeheld, despite its good
intentions, never manages to do that.
Rating: 2.5 out of 5
