Disability has had such little representation in movies that the ones that do feature characters with disabilities often come down to them overcoming it like it is a problem in the first place. The filmmaking duo of director Alexander Yellen and writer Kelli McNeil wanted their film “Daruma” to be anything but that. McNeil, who has been working on the script since 2007 wanted her story to be representative of the community but also not force you to have a sympathetic gaze towards it. The result is a bittersweet indie drama that Sundance was once known to screen in the early 2000s.
Premiered to 2 jam-packed screenings at the Slamdance Film Festival (the neighboring festival that now hosts the actual made-for-Sundance indies) thanks to McNeil’s brilliant marketing strategy, “Daruma” is the story of a paraplegic – a bitter war-veteran named Patrick (Tobias Forrest) who has been cashing on his disability checks splurging it on alcohol and trips to the strip club. Due to his disability, he does get employment benefits as well, but he has very little to no interest in doing anything concrete to make his life feel whole.
Apart from being commitment-phobic – be it a relationship or keeping his shit together, Patrick simply feels like one of those people who refuses to grow up. With his bank balance wobbly and with no one to fall upon, Patrick is on the verge of a collapse before social service comes knocking on the door. The knock presents an opportunity for Patrick; to get paid for taking care of his daughter Camilla (Victoria Scott), someone who he did not know existed up until now. However, it also comes with a responsibility; thinking about someone beyond himself – something that Patrick has never done in his life.
Reluctantly, he agrees, but like any addict, he relapses again, and despite a newfound connection with the local store girl Anna (Abigail Hawk), fails to make it work with Camilla. So, accompanied by his neighbor Robert (John W. Lawson) – another army veteran; a double amputee who doesn’t like him, Patrick decides to take a road trip to Camilla’s grandparents – the only supposed guardians that the kid can have. What follows is a by-the-numbers narrative that gives our protagonist another chance at life and a way to see himself beyond someone with a disability.
Now, the film has its share of flaws that I need to address. Despite casting and making history for being “The first film in US cinematic history to star two authentically cast disabled leads” and winning the coveted prize for its actors at Slamdance, I think the performances in the film are pretty mediocre. To top that off, the dialogues are stilted and are delivered with a kind of theatricality that is bothersome. Additionally, Patrick as a character doesn’t feel well developed despite clear signs that the script has him written well. Abigail Hawk, who seems to be the only character with some kind of depth is abandoned with the story’s focus shifting gears midway through.
That said, the philosophy of “Daruma” is about forgiveness, identity, redemption, and family. While it does follow familiar beats to get that message across, you cannot disregard it because it doesn’t manipulate you to feel those things. Since there is no sympathetic gaze at play, you simply see disability as a part of the plot and not the entire plot which movies like these usually fall prey to. The tone, which shifts between comedic moments and moments of pure drama cushion the overall narrative in a charming progression, making this micro-budget indie feel like it has its heart in the right place.
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