In Jamie Dack’s début feature, “Palm Trees and Power Lines,” the filmmaker’s original perspective and temperament seem formatted away to the vanishing point.
.) Though a unified drama that maintains a consistent tone from start to finish, “Palm Trees and Power Lines” is a widely varying film, and both Dack’s finest directorial inspirations and some unfortunate directorial shortcuts appear equally bound to the movie’s personal side, in ways that demonstrate the challenges that filmmakers face when they dramatize parts of their own lives.
The movie is the story of a grooming. Tom, who says he’s thirty-four, never hides his desire to go out with Lea—he gives her his phone number, although, at first, it seems unlikely that she’ll call. Yet, the next day, she hints to her friend Amber of her attraction to someone—unwilling to speak frankly about him, doubtless because of his age, she evasively refers to as a student from another school.
From the time that Lea first meets Tom to the climactic revelation, the drama involves the details of Tom’s arachnid scheme and how Lea gets ever more deeply enmeshed in it. Each line of Tom’s dialogue seems precisely honed to her vulnerabilities as he leads her, step-by-step, into his grasp. Which is to say that its specific details are all a part of a relentless, abstract mechanism of Tom’s own design and that Dack lays out with an X-ray-like display of its insidious power.
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