There is a fairy tale sweetness to Julia Jackman’s queer coming of age film Bonus Track that makes the relatively rote storyline charming rather than grating. Written by Mike Gilbert from a story by Josh O’Connor (yes, that Josh O’Connor), the Yorkshire set drama revolves around George Bobbin (Joe Anders) a music obsessed sixteen-year-old in 2006 who locks himself in his room listening to Sue Lawley and recording his fantasy version of Desert Island Discs.
George is someone who both blends into the background and stands out for that very reason. Molly (Elle McCloskey) the school’s mean girl notices him enough to tell him to jog on. Rarely without his discman, George is trying to be in another world – one where he isn’t failing every subject (including music) coming up to his GCSE exams. His dad, Jeff (Jack Davenport) is at a loss with what to do with his underachieving son, whereas George’s artist mum, Julia (Alison Sudol) figures he will find his way, eventually. Andi Anderson (Susan Wokoma) the year eleven co-ordinator keeps a gently positive but concerned eye on George, noting that she found high school difficult too.
George’s world explodes when Max Marvin (Samuel Small) the son of a famous musician is enrolled at St. Sebastian’s with paparazzi attached. The handsome and instantly popular teen makes a b-line towards George after hearing him playing the base chords for his yet-to-be-completed pop song. George’s awkwardness doesn’t seem to faze Max at all, nor his terrible “maths tutoring” skills. Within a matter of days Max becomes George’s best friend and cheerleader. Something George finds faintly puzzling but also immensely gratifying. With Max by his side, is it possible that people will listen to his (now their) music, really listen, and hear what he has to say?
Not saying much is part of George’s problem. He meets Jeff’s strict and seemingly tacit disapproval the same way he meets Julia’s bohemian bonhomie – with minimal reaction barring the occasional muttering protest. No one seems to get George except Max with his cleareyed gaze unlocking something akin to hope and rebellion in him. Conversely, George doesn’t quite get Max with his ability to go with the flow, including bringing him on a double date with Molly and her emo friend Polly (Ciara Southwood). George has no idea how to dress, what to say, or how to just ‘hang.’ He’s amazed at Max’s ability to mix easily with people and the encouragement he gives him to do the same thing. Polly sees George clearly when he apologises for not being good at the whole ‘date’ thing. She says it’s not his fault, it’s just her luck to be partnered off with someone who is gay. George asks what makes her say that but doesn’t wait for an answer.
Max’s popularity comes with a cost. He’s tabloid famous. Because his parents’ split was headline news, anything he does is also news. Simply existing as Max Marvin – son of Mike and Penelope Marvin – means he’s followed around by a set of journalists hoping to get a scoop of him “acting out” in some kind of spiral precipitated by the divorce. George finds himself finally speaking up and out in protection of his friend, his very close friend. Meanwhile George’s home life is suffering a similar, but not so public situation, with Jeff and Julia’s squabbles leading them to decide to separate. Life isn’t easy for either boy – but hopefully they have each other.
The friendship inevitable turns into something more with a stolen kiss at school camp. Unfortunately, the kiss is photographed, and both are outed by the gossip pages. Max has a harder time dealing with the invasion of his privacy than he does with the revelation of his queerness and decides that Yorkshire is too small for him to exist comfortably. His mother isn’t coping with the divorce so he’s going to London to stay with his dad unless George can give him a reason to stay. George doesn’t know how to put into words what he feels or who he is. His anxiety takes over and Max leaves.
Bonus Track has essentially the boy meets boy, boy loses boy, boy must do something to get boy back template. Yet, the predictability is part of the charm. George’s travails and his supported decision to do something active in his young life is where O’Connor and Gilbert’s story succeeds. Max’s presence in George’s life was an unexpected dream come true, but he didn’t need to do all that much for Max to be around. How he acts now he’s outed and without Max defines who he’s striving to be. Even going on with his ‘gig’ the Leaver’s talent show on his own is brave. Talking to his mum and dad and listening, really listening, to them means he can start speaking for himself.
The film has a wonderful soundtrack that forms the chapters of the work. It begins with Hot Chip’s ‘Boy from School’ flows through into ‘Take Me Out’ by Franz Ferdinand and numbers like ‘Heartbeats’ by The Knife, ‘Teenage Dirtbag’ by Wheatus, and ‘Dry Your Eyes’ by The Streets give the movie its structure as well as placing it in time. The bonus track of Bonus Track is an energetic track by queer acting and musical icon Olly Alexander.
The light but ‘serious’ tone of is brilliant. Cameos from Josh O’Connor, Colin Salmon, Bill Milner, and Ellie Kendrick as well as Ray Panthaki as St. Sebastian’s pretentious music teacher Mr. Zeppelin, are amusing but never overwhelm who the film belongs to. Bonus Track belongs squarely to its leads and their adorable chemistry.
Bonus Track can be a little sugary but not every queer coming of age story needs to be mired in trauma. The couple at the centre can just be teenagers dealing with things both within and beyond their control and growing into who they are. Joe Anders and Samuel Hall have terrific chemistry and are both names to keep an eye on. Queer kids deserve their fantastic romances too, and that’s what Bonus Track delivers.
Director: Julia Jackman
Cast: Joe Anders, Samuel Paul Small, Josh O'Connor
Writer: Mike Gilbert, (Story by Mike Gilbert, Josh O'Connor)
Producers: Stephanie Aspin, Campbell Beaton, Helen Simmons
Music: Chris Hyson
Cinematography: Jonas Mortensen
Editor: Jason Rayton
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