For at least half the running time of “Soldier’s Girl,” director Frank Pierson and screenwriter Ron Nyswaner’s account of the killing at a Kentucky military base in 1999 of a G.I. emotionally involved with a transgendered nightclub performer is as pedestrian as telemovies come. But pic recovers in later reels, boosted by superior performances and a powerful final act. Sketching the relationship with persuasive integrity, the drama quietly builds a sense of indignation over policy regarding gays in the military and the inadequacy of mental health screening for soldiers trained to feed their aggression. Exposure at gay festivals seems certain in addition to a strong reception on cable.
The true story of unsophisticated, learning-disabled G.I. Barry Winchell (Troy Garity) and Calpernia Addams (Lee Pace), a Nashville drag entertainer en route to sexual reassignment, inevitably will draw comparisons with films like “Boys Don’t Cry” and “The Crying Game.” The fundamental difference here is that the ostensibly straight soldier is aware almost from the beginning that his lover started life as a man and still has some of the parts.
Pierson and Nyswaner (“Philadelphia”) devote an inordinate amount of time to by-the-numbers scenes of grueling military training and to less-than-sensational drag numbers before focusing more intimately on the central relationship.
Dragged
along for a laugh to a gay bar by a bunch of his airborne infantry
buddies, Barry meets Calpernia and is immediately drawn to the exotic
creature for her beauty and warmth. She in turn responds to his
gentlemanly manner, marveling that a handsome straight boy would want to
see her again. Despite confessing to being white trash underneath the
makeup, Calpernia is an intelligent, sensitive woman, who prior to
starting sex reassignment was a Navy combat medic during the Gulf War,
with a higher rank than Barry.
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