February 22, 2006

Three of Hearts: A Postmodern Family
Directed by Susan Kaplan
Runs at the Seattle Film Forum Jan. 27 - Feb. 2

By LESTER GRAY
Arts Editor

The legally unsanctioned but very real marriage of three attractive, intelligent adults — two men and a woman, an actual functioning family — promises a fecundity the likes of which sets documentary filmmakers adrool. When you add that each member is articulately reflective, it’s a once-in-a-lifetime opportunity. Several producers approached the threesome offering to document their social experiment, which stands apart even in an age of creative conjunctions.

For several years the family demurred on such offers — most likely concerned that their loving union of then nine years would be rendered as spectacle. Such a fate was unavoidable to a degree — given the rarity of their commitment to each other.

The reluctance to open their home and hearts to a camera crew softened following a chance encounter with a friend from the men’s youth, Susan Kaplan, a film producer. Initially her request to chronicle the group’s story was turned down. But due in part to a camaraderie that formed between Ms. Kaplan and the trio, the group itself actually requested that she record their experience.

Steven and Sam, two bisexual men, were already seven years into their relationship before being joined by Samantha, a woman of Indian descent. Sam had for some time suggested that adding a woman to the relationship might bring an enriching complement. Steven, less enthusiastic, remained open to the idea. They both agreed that an acceptable candidate would need to be attracted primarily to the emotional and intellectual components of the relationship, not the sexual. It was Sam who first discovered Samantha Singh, a struggling actress.

These three New Yorkers boast a diversity of character. Sam, the son of a heavyweight criminal who is serving time for murder, proves to be the most energetic, innovative, and insecure. Samantha brings a wonderful and strong femininity to the group. She provides the grounding for what otherwise would be day-to-day improvisation. Stephen accommodates: a passive-aggressive who is less accessible than the other two and somewhat less committed.

Although the group does occasionally engage in ménage a trois, they prefer their carnal intimacies one-on-one. These interactions present few complications on the surface, but emotional strains are occasionally manifest, as when Samantha becomes pregnant and the identity of the father remains in question.

The trio’s relatives are made aware of the marriage in bits and pieces — measured servings based on their ability to digest it. Parents, in-laws, siblings, et al, are shown as polite and do us the favor by sucking out bits of exposition that we are unable to, such as, “How do you know who the father is?”

The individual spouses, through much of the film, are shown to treat each other with unfailing cordiality. So much so that it stretches credulity and begs the question as to whether Susan Kaplan’s admitted affection for her subjects influenced the editing. Whatever the answer, the end product is voyeuristically intriguing from beginning to end.

The characters seem to be having so much fun there should be a disclaimer at the end: “The scenes you have witnessed feature New Yorkers. Under no circumstances should you try this on your own.”