Director: Wes Hurley
Writers: Wes Hurley
Stars: Tyler Bocock, Hersh Powers, Sera Barbieri, Marya Sea Kaminski, Lea DeLaria, Dan Lauria, Jonathan Bennett, Rizo, Sophia Mitri Schloss
Synopsis: A true story about a gay boy growing up in the collapsing USSR, his courageous mother, and their adventurous escape to Seattle in the 90’s.
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Potato Dreams of America, Wes Hurley’s autobiography, offers a warm coming-of-age story about a kid that is too sensible to live in a hostile environment and that daydreams of going somewhere else, in this case, the exotic and fantastical-looking United States of America. Based on his essay about his arrival to Seattle and his life as a homosexual man, Hurley presents his story in an effective and funny way, including an unbelievable twist that, if it weren’t because the movie is based on his life, it would be absolutely unbelievable.
Potato Dreams of America follows the life of Potato (Hersh Powers), a gay teenager that lives in the Soviet Union of the 1980s. His household is warm and loving, although a little precarious. His progressive mother Lena (Sera Barbieri) left his abusive husband and did not hesitate to raise a boy on her own. Just as Potato, she longs for a better life in a place that will not send his son to a homophobic army or where she does not have to cover up homicides in her workplace.
The movie can be clearly divided in two halves. The one that happens in the Soviet Union and the one set in Seattle, U.S.A. More than a change of setting, the movie goes through a total transformation of tone and style. While the first half is endearing and sharp, the second is a family drama about self-acceptance, sexual experimentation, and adaptation. Still, in both sections, the special bond between mother and son remains untouched and strong.
The first half is filled with clever humor and an eccentric tone that comes to life through astute dialogue, peculiar circumstances presented in a quirky manner, and the definition of this family’s personality through wit and defiance. For example, Lena thinks about getting remarried just so they can get a color TV, the grandmother (Lea DeLaria) gives terrible advice to Potato so he can stand up to his bullies, and the kid establishes a unique bond with the Jesus Christ (Jonathan Bennett) that lives in his head. This tale is equally endearing as strange.
In the bits that take place in the Soviet Union, Hurley makes use of a modest and simple production design. This creative decision enhances this section’s minimalistic tone, making us feel as if we were watching a play. Hurley invokes the work of Wes Anderson with his characters, pastel colors, and detailed sets.
After a long-distance courtship between Lena and John (Dan Lauria), an old American man, mother, and son go to Seattle. In this change of scenery, everything goes through a massive renovation: new actors for Lena and Potato (Marya Sea Kaminski and Tyler Bocock, respectively), new tone, new style, and even new accents (in the most unusual decision, the actors speak perfect English while in the USSR, but a thick-accented English when they are in America).
Now, they also face new challenges. Potato struggles with his sexuality and his foreign traits. For example, while others appreciate how thick his accent sounds, he finds it annoying. Meanwhile, Lena deals with John’s personality and intolerance. He seems to be a conservative fanatic that enforces his point of view on his new foreign family.
Once the story moves to America, Potato Dreams of America loses part of its magic and adapts itself to a conventional drama, at least in style and visuals. Hurley gets rid of the subdued cinematography and the modest sets to introduce bright colors and locations that are freer and more open. The ambition of the story grows as soon as they change countries. While the charm is lost, our characters seem to start living outside of the reclusive environment from before.
The representation of the Soviet Union and America is radical, shaped by the innocent overview of the young mind of Potato and the personal experiences of Hurley. While the Soviet Union is seen as a miserable, grey, and abusive place – which even in its transition to Russia remains the same –, the United States has a magical essence. Interestingly, their representation is the exact opposite: the storyline that takes place in the Soviet Union has an oneiric sensation, while the events in the U.S. are vivid and clear. It is admirable the bluntness of Hurley’s message, offering drastic and definitive judgments on communism and Russia.
Potato Dreams of America is a sweet and endearing story about a boy and his mother that go through a total transformation to get the life they always wanted. Hurley uses odd and captivating resources to make his story special and enjoyable. Through his personal experiences, he offers a sharp critique of his origins while celebrating the liberties he found on his new home. An ending that reminds of Pedro Almodóvar’s Pain and Glory is the perfect conclusion to his story that celebrates the bond between mother and son.
