The tween girl with cerebral palsy at the heart of “Out of My Mind” would certainly dislike being called inspiring. She makes it crystal clear she hates pity, or anything resembling empty expressions of sympathy. Yet the filmmakers behind the Disney Original, based on Sharon M. Draper’s novel, cast her as the quintessential inspirational movie heroine, there to teach the able-bodied how to treat her disability with respect and empathy. While overall this might serve as a good teaching tool to impact the way disabilities are approached by the medical and educational community, the protagonist’s construction begs for an arc that’s strangely missing from this otherwise sharp feature.
Even before the opening credits, the film provides an introspective look at the frenzied chaos 12-year-old Melody Brooks (Phoebe-Rae Taylor) deals with on an average school day in 2002. We also hear her humorous charm by way of Jennifer Aniston, an internal narrator Melody adopted since she loves the actress on “Friends.” Her overprotective Mom (Rosemarie DeWitt) is multitasking while grousing to their insurance provider as caring dad Chuck (Luke Kirby) scrambles to get Melody’s gregarious younger sister Penny (Emily Mitchell) off to kindergarten just as nosy neighbor Mrs. V. (Judith Light) stops by for a visit. Melody is easily lost in the fray and dealt varying slights by her dad, everything from abruptly turning off the TV to mistakenly blaming her for knocking over pet goldfish Ollie’s tank, when in reality she was trying to rescue him after he escaped.
Melody’s been relegated to the same special ed class for the past seven years, and desperately wants to socialize and learn alongside students in the mainstream classes. She gets her wish when Dr. Katherine Ray (Courtney Taylor) provides a pathway to attending history class with the sixth graders, in addition to approving her for a type-and-speak medi-talker unit. However, this newly unlocked world isn’t easy for Melody to negotiate as she suffers indignities from popular classmates Claire (Kate Moyer) and Jodie (Gabriela Francis), as well as being held to an impossible standard by exclusionist teacher Mr. Dimmings (Michael Chernus). Her indomitable spirit carries her through, and she makes a new friend in Rose (Maria Nash). She excels in class, looking forward to the the Whiz Kids trivia competition where she feels she can prove her worth.
Though Melody faces many obstacles that are compounded by the fact she’s nonverbal and in a wheelchair, director Amber Sealey and adapting screenwriter Daniel Stiepleman shade her as capable from the jump. She meets challenges with a smile. She’s whip-smart and resourceful, especially when expressing complex words not on the laminated word tablet she uses to communicate, searching the room to point at objects. When she’s evaluated for an assistive speech device, despite her stress, she brilliantly thinks outside the box for an answer. She’s also clever enough to use other people’s pity to her advantage, cutting the line outside a popular mall boutique so she and Rose can frolic and try on clothes. Once she’s inevitably granted the opportunities for interpersonal growth that she deserves, Melody blossoms, finding power, grace and fortitude.
Still, what should be valuable character assets ironically form a double-edged sword. Melody doesn’t learn anything new about herself during her battles against ignorant people while growing up in a time not conducive to her needs. The only things she needs to overcome are her external circumstances: abuses of power by doctors, insurance agents, school administrators and bullies intent on keeping her down — some of which feel contrived (like her exclusion from a trivia team activity after she’s proven herself a star player). Her fight for greater autonomy is genuinely heartrending and gives voice to the voiceless. But it’s impossible to ignore that her journey is more focused on how she affects those who choose to limit her rather than her exhibiting any internal change (since she doesn’t need it).
Sealey allows ample space for Melody’s actions to resonate as loudly as her internal dialogue. It’s how the character’s perspective and personhood are brilliantly represented: Whenever she’s frustrated, squares on her word tablet flash onscreen, intercutting with her external physicality. Sealey and editor Jacob Craycroft demonstrate visual dexterity with these sequences ranging from Melody rejecting her dad’s half-hearted apology to Melody’s attempts to get a bunch of arguing adults’ attention. They’re also not afraid of levity, splicing a bored Chuck watching Penny lick salt off a giant pretzel in between Melody and Rose’s peppy, pop-colored makeover montage. Cinematographer Noah Greenberg further defines Melody’s happiness, illuminating her joy with a warm golden-hour glow.
Taylor’s performance is the pulse of the picture. Her nuanced expressions shatter hearts in painful moments, in addition to making them swell with pride during everyday triumphs. The first-time leading lady, who has cerebral palsy herself, instills her character with effervescence, gumption and a winning, earnest sincerity. She finds a vulnerable tenderness in scenes with DeWitt, who this year alone has portrayed many facets of motherhood — from a cheerleading nurturer in this film to a toxic momager in “Smile 2.” Kirby builds depth and dimension into his grounded depiction of a harried father and husband. Be prepared for the tear-shedding moments he steers. Aniston’s vocal work runs completely complementary to Taylor’s, never impeding or overtaking the spotlight on her avatar’s acting.
“Out of My Mind” is a worthy and unique coming-of-age tale. Despite the speedbumps encountered, the filmmakers drive home the poignant message that a person’s disability shouldn’t impede their growth and independence.
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