Adapted from the award-winning novel by Beverly Olevin, Good Side of Bad proves to be a unique adaptation. Tipping a hat to David O. Russell and Silver Linings Playbook, co-writer-director Alethea Root explores mental illness with this low-key family melodrama. One that revolves around a tempestuous Lexi Simonsen as Florence, who tries to commit suicide in the opening five minutes. Wrestling with a persecution complex, visions of people in black hoods, and erratic mood swings that make her unpredictable – this is what holds the film together. In this character-driven contemplation on mental illness, Simonsen has solid support from co-writer Jules Bruff and Alex Quijano. Going toe to toe with Simonsen on screen, Bruff takes the brunt of emotional outbursts as her sister Sara, while Quijano offers a paternal presence playing Peter.
Although the brother sister duo cope with Florence, this young photographer in emotional freefall lashes out at every opportunity. The dynamic between them is both combative and compassionate, reflective of an emotional truth to be found in films like Terms of Endearment. Although the psychiatric elements of this story are predictably cliched, charting a steady mental decline and emotional rebellion, Simonsen avoids drifting into caricature. Confrontations between Sara and Florence are broken up by moments between Peter and Mary Ellen, played by Oscar nominee Tess Harper. Bringing issues of her own to the table, Mary Ellen fulfils a crucial role in this ensemble drama, adding shades of understated naturalism.
Image via KLA Media
Elements of docu-drama in the framing also add voyeuristic qualities, while lending events a sense of unpredictability. Although it embraces melodrama in the latter stages throwing everyone into turmoil, Good Side of Bad captures a moment in time for these characters that feels oddly relatable. As much as it might not address mental illness without falling back into formula, there is still a lot to like. The moments between Florence and Dennis in the mental facility are touching and perfectly played, even if Myles Grier never gets enough screentime. Their fleeting relationship, that serves as a respite from the melodrama, adds an essential element of humanity to proceedings. Whether through stolen glances in that first encounter group, or later on when they become a couple, every minute they share elevates the material.
The issues with Good Side of Bad are ones of originality. From Girl, Interrupted through to Frances with an underrated Jessica Lange in the lead, addressing mental illness on film is challenging. Lexi Simonsen does a solid job as Florence, adding nuance, embracing conflict, and perfecting unpredictability. Elsewhere, this melodrama ticks all the boxes but lacks a sense of urgency. Characters might argue and debate in earnest, standing their ground or backing down depending on the whims of this young woman, but something essential is missing. Florence rarely gives audiences an opportunity to emotionally invest. Whether Lexi Simonsen was aiming at cold-hearted detachment or not, Florence simply feels unapproachable, which is both a blessing and a curse. One that might make her performance powerful and transformative but also makes it hard for audiences to empathise.
Good Side of Bad is out now on digital download and DVD.