Michael Cera stars in Youth in Revolt.

Youth in Revolt

For years, Hollywood has wrestled with adapting C.D. Payne's 1993 novel Youth in Revolt — which actually was three novels collected under one title, and so the possibilities were endless, given 500 pages of material to mine. In 1996, Fox filmed a pilot starring Chris Masterson as Nick Twisp, the fourteen-year-old "I'm Single, Let's Mingle" T-shirt-sporting, foreign-film-watching, Frank Sinatra-listening Oakland-stuck virgin from Payne's book. Jane Kaczmarek played his haggard, DMV-working mother. If that sounds familiar, it's only because both actors would ultimately wind up playing son and mother on Fox's Malcolm in the Middle. A bland sitcom that went unaired, Youth in Revolt perished, as did the next screenwriter hired to try again for MTV two years later.

Now comes writer Gustin Nash's version. Nash — who penned Charlie Bartlett, making him 0-for-2 in the revolting youth sweepstakes — has severed the jokes and hijinks from Payne's plain yet playful narrative with a dull ax. The surrealism and sensitivity of the novel, which spawned a cult of collectors who trade the limited-run first edition for hundreds of dollars, has been boiled down till it tastes like pungent tweener formula. Payne may have exaggerated horny teen angst into slapstick and mayhem (what teen doesn't do the same thing?), but he did so effortlessly, earnestly. Nash and director Miguel Arteta try too hard; they want their movie branded a cult favorite before anyone's even seen it.

Winded and weary from its long journey to a bigger screen, the three-books-in-one has been squeezed into a ninety-minute Cliff's Notes version starring Michael Cera as Every Role Michael Cera's Ever Had. And so the curse of translating Youth in Revolt for moving pictures lives on: yet another didn't-get-it disaster, this time with Nick Twisp as George Michael Bluth.


Youth in Revolt

Directed by Miguel Arteta. Written by Gustin Nash. Starring Michael Cera, Portia Doubleday, Jean Smart, Ray Liotta and Steve Buscemi. Opens 1/8.Find more film reviews at westword.com.

Cera is at least allowed a few moments to break character when he assumes Nick's alter ego, Francois Dillinger, who sports a wispy mustache and tight white slacks and smokes non-stop — Jean-Paul Belmondo with homework. He's the devil on Nick's shoulder who says what Nick doesn't to get the girl (Sheeni Saunders, played by Portia Doubleday) and does what Nick can't (like stealing a car and a trailer precisely so he can get in trouble) and who is, by far, the most interesting character in a film lacking, well, character. During those few moments when Nick and Francois share the screen, Cera's having a blast; Francois uses his calm and confidence to squash the squishy Nick.

Alas, Francois is little more than a cameo appearance, and Nick's other persona from the book — Carlotta, poor girl — is but a cheap disguise consisting, briefly, of a dress and a wig; oh, how hilarious. Nick has likewise been stripped of his eccentricities, his smarts, his specialness. Now he's just another horny, too-smart movie teen doing whatever he can to get laid in between woefully animated sequences, surrounded by sketched-out weirdos, among them Steve Buscemi as his creepy dad.

The movie opens with Nick masturbating under the sheets, after which he puts on a Francis Albert record and pines for a yesteryear he has never known. He's trapped in suburbia with his worn-out mom and her no-account boyfriend, Jerry (Zach Galifianakis), who has just swindled sailors by selling them his piece-o'-crap car. Upon the sailors' return, the three decamp for a trailer park in northern California, where Nick meets Sheeni — the Jean Seberg to his Belmondo. But when Nick returns to Berkeley, he, breathless, does what he can to get back to Ukiah and his Sheeni; thus begins a series of wacky misadventures. It's just a jarring jolt from one escapade to another interrupted by the needlessly crammed-in cartoons that serve solely as pointless non sequiturs.

Arteta should have known better. He makes a valiant attempt to wring some truth and earnestness from Nash's screenplay. But he is ultimately sabotaged by a screenplay that mistakes nasty for witty and clever for thoughtful.


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