Say hi to Patrice Jetter. She is simply the best crossing guard in New Jersey. She’s adored by children, and she adores the children. She’s one of those people with an infectious sparkle who lights up the day with her very presence.
That ray of sunshine in person is what Ted Passon describes in his film Patrice: The Movie as he follows her around, her everyday struggle with being differently abled and her deep affection for Garry, her partner. There is an introduction to the life of Gavin and Patric with the caveat that things would never be the same. After a great deal of friendship and romance, Garry asked Patrice to marry him. She accepted the engagement ring without being fully informed of what it entailed. Due to the macroscale environment, however, they cannot get wed. As many never heteronormative couples, the couple is captivated in the vicious cycle of how anti-gay marriage policies affect both their social safety nets and their lives together.
The background of the couple’s devastation is convincing; living in such conditions and collaborating as a society requires severe sacrifices. In their case, they were forced into a painful decision: to sacrifice love for life or medical assistance.
Although this situation seems hopeless, Passon promises that the film is nothing of the sort. Life is joyful in this film, as Patrice never fails to promote positivity through her engaging stories. It’s almost as if she circumvents the questions posed during her interviews. Somehow, there always exists a beginning and an end to everything that Patrice does. Passon’s cleverness allowed him to take advantage of his participants’ natural story-telling abilities and include this information in the construction of the documentary.
The movie features colorful snippets that tell the other side of Patrice’s life. Patrice acts out her role and puts in her all, while a group of children act out her classmates, friends, ‘toughs’ and her mom. The sets also incorporate Patrice’s pictures because earthy textures and storybook stages illustrate an imagined world in sketched crayon lines. When Patrice recalls her first days in school out of many memories when she was the only one wearing a sweater harness, she decides there is no way any no xie zg zp bnhrr sel only hert bi og si. On the other hand, she is the perfect example of a person who knows how to be an optimist because all her life she has built worlds where she is the heroine trying to create the most beautiful world for her friends.
It’s a giddy direction that is almost reminiscent of Billy Corben, where children are told to act out a sporting drugs scandal as in his movie Screwball. But this is also a practical way of adjusting the storytelling to integrate Patrice’s role and witness her story. It is a great way of showcasing new techniques in a documentary film without sounding overly ambitious, but it is also great filmmaking.
There is also verité footage where Patrice and Garry are seen in their day-to-day life, alone and together. Passon sees them in such close quarters, how they help and care for each other, but also how difficult it can be, for example, when preparing a meal apart or indeed together. In one more episode, Patrice is seen tucking Garry into bed, where she lifts him out of his wheelchair and onto the bed before next jumping in. The film captures their candid moments with them and provides valuable insights into a good relationship, as caring for the other is embedded in regular life.
After previously working in documentary series such as Philly D.A. and Worn Stories, Passon’s debut directorial feature comes in the form of this apparent documentary, while retaining its light tone. Patrice’s story has very many sad details, a mother desperate to avoid putting her child in institutions, a child that nonetheless suffered physical and psychological violence in such institutions, and a mother that faced discrimination when applying for work as a crossing guard. Her relationship with Garry and her decision to take wedlock is perhaps the most daunting challenge among all.
Patrice and Garry opt to have a ‘commitment ceremony’ instead of undergoing a formal marriage ceremony. Their struggle is reminiscent of the many people that find themselves in the struggle for marriage equality. In Passon’s film there is a clear development of human rights drama, as Patrice and Garry, with their friends, who are otherwise physically and mentally challenged, strive to make the partnership work. They seek out attorneys and other advocates who suggest that they address the wider issue of marriage rights since attempts to remove marriage as a condition of sharing benefits have died in Congress. In simple terms, elected officials believe having both partners covered in one would look unaffordable, but as Patrice always tells, they could force two people apart and still end up catering for two individuals.
Things, however, take a turn for the worse. Patrice’s accessible van has broken down. She relies on it to get to work, but she also needs it to see Garry and carry his wheelchair with her. Resources for the bridal expenditure are in short supply, so Patrice and friends approach the available alternatives. To avoid losing her van and her job, people gather cans and conduct donations for the sake of Patricia. This story arc does make the documentary interesting as it does come across as an underdog story, but any person fighting for the basic needs of people with disabilities already knows this: there should be no need to crowdfund for essentials.
Sarah Passon develops the narrative of the film presenting the viewer with emotions and humor. Passon created this inspiring understanding doc, allowing audiences to zoom out, recall that stories have myriad endings and each one comes with its timeline and twists in the plot. No question ‘a happily ever after’ is what the couple wants and by sharing their story, they make it possible for so many others to experience the same.
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