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    Book Review: ‘Pageboy: A Memoir,’ by Elliot Page

    In the “brutally honest” memoir “Pageboy,” the actor recounts the fears and obstacles to gender transition, and the hard-won happiness that’s followed.PAGEBOY: A Memoir, by Elliot PageThere’s a scene in the third season of Netflix’s hugely popular “The Umbrella Academy” where Elliot Page’s character, sporting a new, short haircut, walks up to the other members of the titular superhero team to suggest a plan.There’s a derisive response from one of them: “Who elected you, Vanya?”Page glances around, slightly tentative. “It’s, uh, Viktor.”“Who’s Viktor?”The subtitles describe “dramatic music playing” as members of the group eye one another. Page hesitates for a second. “I am. It’s who I’ve always been.” Another beat. “Uh, is that an issue for anyone?”There’s little hesitation: “Nah, I’m good with it.” “Yeah, me too.” “Cool.”And thus plays out what might be the most mundane — and yet quietly empowering — depiction of gender transition in popular culture I’ve ever seen. Were Page’s real-life journey to transition only as simple, straightforward or well received.Instead, as he details in a brutally honest memoir, “Pageboy,” his life story was marked by fear, self-doubt, U-turns, guilt and shame, before he ultimately seized control of his own narrative.A child actor from Canada who burst onto the scene at the age of 20 with a breakout performance in the title role of “Juno” in 2007, Page went on to take roles in films that ranged from indie (“Whip It,” “Freeheld”) to blockbusters (“Inception,” “X-Men: Days of Future Past”).But fame didn’t free him to explore his identity; instead it trapped him into a role studios wanted him to play, offscreen as well as on, as an attractive young starlet.Much of the memoir — told in non-sequential flashbacks and flash-forwards — centers on Page’s path to understand who he really was, against a backdrop of bullying, eating disorders, stalking, sexual harassment and assault. Page grew up in Nova Scotia, the child of divorced parents — a less than loving father and a mother hoping against hope for a more conventional child than the gender outlaw she seemed to be raising.“Can I be a boy?” Page asked his mother at the age of 6. He found escape in solitary play and a rich fantasy life that ultimately blossomed into a career as an actor.The nonlinear structure makes following a clear narrative difficult, but that’s less important than seeing, through his eyes, how Page slowly pieces together a clear sense of himself. In that, it follows a tradition of trans memoirs, from Jennifer Finney Boylan’s “She’s Not There” to Janet Mock’s “Redefining Realness” to Thomas Page McBee’s “Man Alive,” among others, that explore how we explore our identities.From furtive, closeted relationships — he relates how he held hands under a blanket with his then-partner as they were bused from location to location while working on a film together — to coming out as gay in 2014 (“more a necessity than a decision,” he writes), Page flirted with, but backed away several times from, the notion that he might be trans.“My shoulders opened, my heart was bare, I could be in the world in ways that felt impossible before,” he writes of coming out as gay. “But deep down an emptiness lurked. That undertone. Its whisper still ripe and in my ear.”It’s in that tortured, contradictory internal monologue — familiar to other trans people as we contemplate what seems to be an extraordinary, unimaginable truth — that “Pageboy” is most powerful. Page doesn’t really delve into questions of masculinity, or what it means to be a man, but he brings to life the visceral sense of gender dysphoria, or at least one type of dysphoria: the sense that your body is betraying you. It’s an utterly alien sensation for those who haven’t experienced it:Imagine the most uncomfortable, mortifying thing you could wear. You squirm in your skin. It’s tight, you want to peel it from your body, tear it off, but you can’t. Day in and day out. And if people are to learn what is underneath, who you are without all that pain, the shame would come flooding out, too much to hold. The voice was right, you deserve the humiliation. You are an abomination. You are too emotional. You are not real.Moments of joy pierce “Pageboy” as well: his first real queer kiss; scenes of passionate sex; the blossoming of his relationship with his mother after he came out; the reflection of his flat chest in the mirror.Page disclosed his transition in December 2020, a few weeks before I did the same. I suspect he, like me, had been prepared for a future where trans lives would be broadly accepted, or at least tolerated, albeit with sporadic incidents of hate. Both of us inhabit left-leaning spaces (media, movies) where the appearance of support is de rigueur.How could we have expected instead the tidal wave of anti-trans animus that is surging across the right, with hundreds of bills proposed — and some passed — in state legislatures that would in some cases bar adults from accessing trans care; undermine private insurance; allow medical personnel to discriminate against transgender patients; and restrict performances by drag performers and trans people, including possibly Page.Trans men and women are attacked in very different ways. Trans women are demonized as sexual predators; trans men, when people think of them at all, are portrayed as misguided and misled girls and women, confused and unable to understand their own identity. “When I came out in 2014, the vast majority of people believed me, they did not ask for proof,” Page writes. “But the hate and backlash I received were nothing compared to now.”It was an unwelcome regression to a time studios controlled his public persona: “I am sick of the creepy focus on my body and compulsion to infantilize (which I have always experienced, but nothing like this). And it isn’t just people online, or on the street, or strangers at a party, but good acquaintances and friends.”Still, Page has no shortage of fans as well, vociferous defenders of possibly the most famous trans man in the world, and one whose onscreen portrayal of a superhero offers an alternative conception of masculinity rooted in inner strength and sensitivity rather than brawn and muscles.His character’s arc from Vanya to Viktor offers hope, too, of a world where transition is matter-of-fact, accepted — and incidental. “Truly happy for you, Viktor,” another “Umbrella Academy” member concludes.Page and the showrunner Steven Blackman were at pains to ensure his character’s journey reflected the nuances of real trans lives, not least that being trans was a character trait, not the defining one. They brought in McBee to weave an authentic narrative into what was then an already tightly packed and carefully scripted season.In the memoir, Page reflects on his complex relationship with store windows, and his image in them — a reminder, pre-transition, of a body and identity he saw but did not want to inhabit. McBee crafted that memory into another telling “Umbrella Academy” scene, where Page’s Viktor pauses in front of a storefront and is asked what he sees.“Me.” A smile and a shrug. “Just me.”Truly happy for you, Elliot.Gina Chua is the executive editor at Semafor.PAGEBOY: A Memoir | By Elliot Page | 271 pp. | Flatiron Books | $29.99 More

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    In Nida Manzoor’s World, Martial Arts and Jane Austen Belong in the Same Movie

    The writer-director set out to make “a joyful film about South Asian Muslim women” that didn’t revolve around trauma. The result is “Polite Society.”“Polite Society” is an action caper filled with martial arts battles and secret lairs. It’s a romance in which two smart, impossibly attractive people fall in love. It’s a Jane Austen-esque comedy of marriage in which a teenager meddles in her older sister’s love life while their parents look on in dismay.It’s also a movie with a lavish, Bollywood-inspired musical number, because why settle on a single genre when you can cram in as many as possible?Yet this new British film does not feel tonally inconsistent or stylistically scattered; rather, form imaginatively fits function.“It’s about women dealing with norms and expectations and rules, and wanting to push them,” the writer-director Nida Manzoor explained in a video conversation from Bristol, England. “When they’re breaking them, I’ve got to break genres as well. So it all felt like it was working together, not just me being insane.” She laughed. “Maybe a bit of me being insane.”Reviewing “Polite Society” for The New York Times, Amy Nicholson called it a delight that signals the arrival of Manzoor as “a promising new thing: a first-time filmmaker impatient to evolve cultural representation from the last few years of self-conscious vitamins into crowd-pleasing candy.”Kansara, left, and Ritu Arya as South Asian Muslim sisters in Britain. Parisa Taghizadeh/Focus FeaturesIn the film, Ria, the youngest in a British Pakistani family, attends high school while training hard to fulfill her dream of becoming a stuntwoman. (She idolizes Eunice Huthart, a real-life Liverpudlian with extensive experience as a Hollywood stunt double.) And so the actress portraying her, Priya Kansara, had to get with the program — fast.“I have no prior martial arts experience or anything like that,” Kansara said in a video chat. “I was cast around six, seven weeks before we started the shoot, so that’s the time I had to learn as many of the stunts and the fight choreography. It was intense because there was so much to get through. And Ria is just a crazy kid; she doesn’t really stop.”The plot moves at a fast clip peppered with a lot of action, which is nearly always layered with rambunctious comedy. When Ria, who usually has no time for “girlie” accouterments, is forced to endure a wax, the scene is shot like a dramatic interrogation in an early James Bond movie — “but with this kind of villain Auntie character,” Manzoor said, referring to Ria’s nemesis, played by Nimra Bucha.The film is often cathartic in the way it lets girls and women do — with contagious glee — things we have seen men do onscreen for decades. When Ria and her sister, the art-school dropout Lena (Ritu Arya), go out for burgers, they wolf them down with memorable gusto.“Nida came up to us, like, ‘Just go for it, eat like you haven’t eaten in hours and you cannot wait to get into it,’ ” Kansara said. “Me and Ritu took the note literally and we went for it. After that take, Nida came back up to us and was like, ‘OK, maybe not that much.’ ”“Polite Society” lets Kansara, left, and Arya do things onscreen the way men have for decades.Samuel EngelkingFor Arya (best known as Lila Pitts in the Netflix series “The Umbrella Academy”), being encouraged to chomp was a refreshing change from what she usually sees in movies or on television. “I love watching people eat, but onscreen they are often sort of playing around with their food because of the amount of takes they have to do,” she said in a joint chat with Kansara. “Which is why it’s satisfying when you see people actually eating. I love that scene for that reason.”Arya was familiar with Manzoor’s sensibility because they had worked together before, most notably on the 14-minute comedy “Lady Parts,” which Manzoor made for Channel 4 in 2018 and in which Arya played the lead singer of the short film’s titular punk band, a raucous quartet of Muslim women. (Because of scheduling conflicts, the part was recast when the short became the series “We Are Lady Parts,” which streams on Peacock in the United States; Manzoor is currently writing Season 2.)Manzoor started writing “Polite Society” around 10 years ago but kept running into obstacles as she tried to get the project off the ground. Very early on, before such suggestions became less acceptable to make, potential financiers would ask if she could make the central family a white one. Others would have preferred something a little bit less action and more art house. Later, the emphasis on comedy became a problem: Couldn’t there be some weighty issues like, say, an arranged marriage?Manzoor did not budge. “It was like, ‘It’s a joyful film about South Asian Muslim women,’ ” she said. “So much of the reason I’m a filmmaker is because I want to not have our stories only be about trauma.”Giving “Polite Society” emotional ballast is the bond between Ria and Lena, which was inspired by the one between Manzoor and her own sister, Sanya, who is a year older. (Their brother, Shez, worked on the soundtrack.) After collaborating with Arya on “Lady Parts,” Manzoor felt she was a natural fit for the role of Lena. “She has the quality of my oldest sister,” Manzoor said, “that natural, inherent sort of alternative brown girl, which is quite rare, actually, in actors. It’s kind of mercurial and wild and vulnerable at the same time.”Even a brutal brawl between Ria and Lena, at a low point in their relationship, was inspired by real life. “I used to fight with her — we used to do martial arts together,” Manzoor said of Sanya. “I have this memory of when we were in a martial arts class and our instructor always wanted us to fight when we did sparring.” She laughed. “It was kind of creepy.”Asked why she was so keen to put women being active and physical at the heart of her film, Manzoor dug back into her past again.“I used to love sports, and doing martial arts and dancing,” she said. “And then around 12, 13 years old, your body changes and you become objectified. I felt so alienated from my body, so ashamed of it. I realized I’m drawn to genres that allow women to be in possession of their bodies: playing an instrument, being onstage. That was something I lost when I was a teenager, that physicality,” she added. “In my art, I’m always trying to show women have it or regain it or find it.” More

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    Elliot Page, Oscar-Nominated ‘Juno’ Star, Announces He Is Transgender

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusClassic Holiday MoviesHoliday TVBest Netflix DocumentariesAdvertisementContinue reading the main storySupported byContinue reading the main storyElliot Page, Oscar-Nominated ‘Juno’ Star, Announces He Is Transgender“Hi friends, I want to share with you that I am trans, my pronouns are he/they and my name is Elliot,” Page wrote in a statement that he posted on Tuesday.“My joy is real, but it is also fragile,” Elliot Page wrote in a statement announcing he is transgender.Credit…Rich Polk/Getty Images for IMDbBy More