Mister Sister (2020)
Film Review
By the Geezer of Oz
“A suicidal man from Milwaukee is given a second chance at life in NYC, working as a drag MC while learning the courage from the caring LGBTQ community to pursue his dreams, including a relationship with a tap dancing single mom.” -IMDb
Possibly the very first piece of advice you get when venturing into indie filmmaking and about to embark on writing your own script, is that oh-so-brilliant old nugget which simply states “write what you know.” In all seriousness, that is pretty good advice. It doesn’t have to mean the same thing for everyone. “What you know” does not necessarily only mean writing about your own life or people you know in some capacity, it can also mean a representation of what you know, which is buried deep in subtext and can only be uncovered by the keenest, most expert film viewer. Either way, writing what you know tends to ensure some level of authenticity and believability you may not otherwise have when writing about something you… well… know nothing about. The other thing it tends to bring forth is just as important – passion for the subject matter.
In following indie filmmaker Mars Roberge‘s work over the past few years, I noticed that Roberge does, indeed, tend to write about a world he is very familiar with and passionate about. That world is the world of the “outsider”. His first feature film, The Little House That Could, is a documentary covering a group of young outsiders, lost in the world, who are given a home in New York City by Emmy Award-winning fashion stylist, Patricia Field. His second feature, Scumbag, is a punk comedy residing in a world filled with all kinds of strange, zany and batshit crazy characters, a variety of outsiders in the world of… telemarketing. In his most recent outing, Mister Sister, Roberge takes us into the world of New York’s LGBTQ, drag culture and all the fabulousness it has to offer. A slightly different group of people, but definitely on the fringe and very much considered outsiders to the rest of mainstream society. Roberge clearly has a fondness for this world, which he likely frequents in some capacity, both as a filmmaker and as musician, Roberge is also a working DJ, performing under the name Die J! Mars.
At its core, Mister Sister is a feelgood dramedy about redemption and overcoming life’s challenges. The story of a heartbroken musician from Milwaukee who never really fit in back home, arrives in New York City and just as he is about to lose all hope he cries out for help and it arrives in the form of a fabulous drag queen with a kind heart who takes him into her world, which then quickly becomes home. Our leading man, Jordan (portrayed by the charismatic Jack James Busa), once being saved from yet another night on the streets by his guardian angel, Charmaine (sensitively portrayed by Princess Diandra), stumbles onto a job as a drag MC at a popular hangout spot and is quickly re-invented as Mister Sister, a nun in drag who insults the club’s patrons, much to their delight. While at work, Jordan meets shy, soft spoken waitress Marie (sweetly portrayed by Debra Haden) and the two take a liking to each other. Jordan‘s story is followed with highs and lows as he tries to let go of his past, grow the f#%k up and find his place in the world.
Another main character in this wonderful story is the city of New York itself. There is a feeling that Roberge chose to have this film shot in a quasi-documentary feel in spots. The cinematography by Cody Stauffer feels gritty and grungy in some parts, then steady and pleasing to the eye in others, showing us the seedy element of the city, as well as all its beauty. Whether consciously intended by Roberge or not, I felt that Mars was trying to introduce me to New York and “show me around”. This effect provided great ambiance for the outdoor scenes, keeping me constantly engaged whether much was happening story-wise or not.
Another element which greatly enhances the film is the absolutely awesome soundtrack. Mister Sister is filled with a great selection from many different music styles, suiting the different moods of different scenes. It was a pleasure bopping to tracks coming from dance, house, punk, rock, folk, blues and many other genres. The jampacked soundtrack also includes a few works (as well as a cameo) by Roberge himself, including a few Die J! Mars tracks, as well as a couple from his project Rise NYC, one of which being the anthem Rock ‘n’ Roll Manifesto. Another standout is the incredibly catchy Sad, Sad Vampire by Skunk in the Roses a.k.a. Debra Haden herself. Both songs were recently released by the freshly launched World Domination Records (more about the releases HERE and HERE). Closing out the film, we are also treated to a track performed by Jack James Busa + The Pious, the Bowie-esque Space Ace. Just beautiful.
The Cast as a whole is also largely fantastic. The previously mentioned Busa is a star in the making. He has an awesome look and charisma which should take him far. Possessing a great singing voice and stage presence are not going to hurt, either. I look forward to seeing and hearing much more from him in the future. Princess Diandra brings much warmth, sensitivity and authenticity to Charmaine‘s character. Although being a supporting character to Busa‘s (as all characters here are), she definitely put her stamp on the film and was a joy to watch. Debra Haden does a great job with Marie, being both adorable and likeable, yet showing the character’s strength and self-respect in the process as well.
The rest of the cast all performed admirably and are just too many to mention, so here are just a few: Jim Sclavunos (of Nick Cave and The Bad Seeds, as club owner, Sonny), Nadia Shimunova (as Marie‘s young daughter, Julie), Shia Ho (yeah, you read that right – as Jasmin), Gazelle Paulo (as Sabrina), Chaka Khanvict (as self), Brandon Olson (as Vera), and the late Ari Gold (as Jackson), among many many others, all shined in their roles. Roberge‘s ability to bring together productions with so many characters (main, supporting and extras) never ceases to astound me. Definitely no mean feat.
If there is one point of criticism from me about this film, I’d have to say that I had some issue with some under-developed, abrupt changes to characters and story elements in the third act and the ending, therefore, seemed a little rushed. I am, however, nitpicking here a bit, as once the story reached the end credits, I felt that I was taken on a ride and enjoyed it immensely. Mister Sister is simply a joy, a fun journey covering some serious issues, as well as introducing some of its audience to a world they may not otherwise be exposed to, which in my opinion is commendable.
Come on in and enjoy the show. Mister Sister is 108 minutes of good time! 8/10.
