Mary Beth Higgins (Constance Brenneman) is on the journey of a lifetime. As she travels in an RV/traveling soup truck with her new friend Wanda (Cathy DeBuono), she realizes that her life isn’t quite what she had hoped it would be at this point. She’s about to get a divorce, she’s struggling to understand who she is, and she may have been lying to herself for years about what she is as well. Along Came Wanda tells the story of Wanda’s insertion into Mary Beth’s life and what a significant role she now plays in her very existence. Will Wanda help Mary Beth discover herself, or will her struggles continue?
Along Came Wanda runs the risk, immediately, as being deemed too woke or lesbian-centric, which, in the grand scheme of things, may not be good for the overall reception of the film. Regardless of my views on anything–and I’ll do my best not to spoil my actual thoughts on the subject–mask wearing has become a hot topic around the world, and individuals (and even groups) tend to fall on one side or the other of this mask-wearing line. This idea plays a significant role in the development of Along Came Wanda. Filmed, released, and altered by the ongoing pandemic, Along Came Wanda aims to stick as close as possible to the landscape of the real world, and it does that, but that can still be risky. At this moment in time I’m tired of hearing about the pandemic in cinema, not because it isn’t relevant, but because I want a brief escape from reality…and Along Came Wanda certainly doesn’t provide that.
If you’re able to overlook the silliness of the narrative or the COVID-19 mumbo jumbo, there is some interesting content present in Along Came Wanda. At the center of the film, regardless of what else exists throughout, is a love story. This love story takes many forms throughout Along Came Wanda, and as that story transitions niche groups of viewers are invited into Mary Beth’s narrative. This aspect of the film is ultimately what saves it, as I was able to find pieces of Mary Beth’s story to connect with, and that goes a long way.
Beyond the sexual/love aspect of Along Came Wanda, there is an aspect of the film that begs viewers to look introspectively. If you’ve been able to look past the aforementioned issues, and have found a part of the love story to latch onto, then the existential light at the end of the tunnel has the ability to pull you in and nearly drown you. But that sensation of drowning is an important part of how viewers ultimately feel about the film–and I think it works toward a positive reception of Along Came Wanda. That feeling of helplessness resonates with viewers, and reminds them, more than likely, of a time in their lives when the world felt like it was crashing down around them.
Along Came Wanda certainly has its plights, and it takes some time for viewers to get over the immediate disappointment of the film. However, if viewers are able to look past the disparities of the film, there is so much that writer-director Jan Miller Corran has to offer. From love to sex, and desire to introspection, Along Came Wanda covers all the bases of a great film. Thanks to the changing dynamic of the film’s content, Along Comes Wanda finds some success, far more than I anticipated at the start.
Written & Directed by Jan Miller Corran.
Starring Constance Brenneman, Cathay DeBuono, Max Adler, Isabella Hofmann, Adam Huss, Rich Ceraulo Ko, etc.
⭐⭐⭐⭐⭐⭐⭐/10
Comentarios