By Sebastian Fortino

I was hesitant to see “Love, Simon” after we were treated to the lush “Call Me By Your Name.” Mostly because many people rolled their eyes and said, “It’s the American version of ‘Call Me By Your Name.’” Others said, it’s the American version of the 1996 British teenage coming out film “Beautiful Thing.” But, rest assured all you Elios and Olivers, all you Jamies and Stes in this world, it is not. The film I do find it seems to be the descendant of, or at least cousin to, may surprise you.

“Beautiful Thing” is a story of two working-class lads growing up on a council estate--what we might call subsidized or public housing in the States--who struggle to come out. “Love, Simon,” in the tradition of American cinema, portrays a middle-class family somehow living an upper-middle-class lifestyle. The British film has a touching scene in which Jaime tells his mother he is afraid to come out because he doesn’t want his mother to worry about him. “You think I'll catch AIDS...and everything,” he says to her. Now, over twenty years later, this topic isn’t touched on at all in “Love, Simon.”  

Would Simon (Nick Robertson) benefit from even a brief lecture on STDs, and HIV-prevention in the age of PrEP? Yes. Would the racially and culturally diverse group of friends Simon has have been better served by an African-American teacher who did more than seemingly only make appearances to deliver comic relief? Yes.

In “Call Me By Your Name,” the author of which I was able to interview, is a story of a well-to-do academic family of Americans living in Italy. Coming out is not really part of this story. Elio and Oliver fall in love, and they fall in love beautifully. Falling in love, André Aciman reminds us, with someone of your own gender does not mean you will identify as an L a G a B or a T for the rest of your life.

Also, Elio and Oliver were a genius and a scholar, respectively. In “Love, Simon” we never even learn what kind of student Simon is, no academics seem to be discussed. The vice-principal, played by a whacky Tony Hale (Arrested Development, VEEP) is one of only two adults who seem to be employed by Simon’s high school.

An interesting parallel to “Beautiful Thing” is that the earlier film was produced for television. However, it was so well-received it was given theatrical release. “Love, Simon” I feel could and will serve LGBT youth better once it hits Netflix.

“Love, Simon” is definitely a coming-out-story. It chronicles the life of closeted teen Simon Spier. It shows how far the gay community has come in terms of being accepted by family. Yet, it also reminds us kids still have it rough at school because being gay is different; being different in high school will always be difficult.

When Simon (Nick Robinson) does come out, his father (Josh Duhamel) apologizes for imposing his heterosexuality on his son. Wow...have times changed! I was told by my mother, “I never said you could be that way.” Meaning, I guess, if I had asked my family’s permission to be gay they’d discuss it and get back to me if I passed algebra.

The riddle of what “Love, Simon” is, is that it’s neither of the two other films I’ve mentioned. Instead,it’s an homage to teen movies of the 1990s. Cult hit film “Clueless” clearly provided inspiration for the filmmakers. The social maneuvers young Simon must go through to protect his identity, are reminiscent of “Emma,” by Jane Austen. It should come as no surprise the early 19th century novel did indeed inspire the film with which Alicia Silverstone will forever be associated. I would not be surprised if writer Becky Albertalli, whose novel “Simon vs. the Homo Sapiens” inspired the film, is some type of Austen fan.

“Clueless” is a coming-of-age story. While Cher is not a genius, and Simon’s grades are seemingly never mentioned, she struggles in school. It was perhaps revolutionary in that it had a gay high school student. In the form of a boy named Christian who Cher (Alicia Silverstone) mistakenly tries to date.

It’s interesting to note Cher is 16 and it’s quite alright she falls for her older step-brother, in his mid-twenties at the time. Wow! The conservatives lambasted Elio being 17 and Oliver being 24 but sure, it’s fine a teenage girl develops a romantic interest in a family member. When we screened this film a few months ago at Portland’s McMenamin’s Mission Theater, the audience was reminded of this. We let out an overwhelming “Eww.”

I found “Love, Simon” to be a very watchable film. It does not reach the cinematic majesty of “Call Me By Your Name.” In terms of cultural change, it shows how far and perhaps how little, we have progressed from the stigma associated with being gay. It even captured the sort-of vacuous background one encounters in “Clueless.” For the teenage Simons of today, this is their “Clueless.”

Check showtimes for “Love, Simon” at theaters in your area.