This could have easily been made as a mockumentary and completely failed. Instead, filmmakers Keith Fulton and Louis Pepe create an almost other-worldly type of art film that owes as much to Ken Russell (who makes an appearance here) as it does to MTV and modern documentaries. What we have here is not a mockumentary but a fake documentary. The difference is, of course, that the subjects here are not being held up to ridicule. This story is more intense, personal and understated than that.

This is the story of conjoined twins named Tom and Barry Howe who are sold by their father when they are teenagers to a rock impresario (sort of a mix between Colonel Tom Parker and Brian Epstein). They are set up in a remote British castle and sculpted into a rock and roll band called Bang Bang. One brother plays guitar while the other sings. In the end Bang Bang becomes what may very well be the first punk rock band.

There are several conceits that help us get into the story of the boys and hear their tale quite successfully. Sure, there is footage that purports to be shot at the time the brothers are in the castle (in the 70's) and we are told that this was because their handler, expecting them to be rock sensations, wanted them filmed as much as possible. This seems rather easy to believe. There is also a wonderful idea used here suggesting that Ken Russell had begun a biopic on the boys called "Two-Way Romeo," after one of their songs, that was never finished and there are several scenes from this supposed abandoned film as well as interviews with Russell which star Jonathan Pryce among others.

Filmmakers Fulton and Pepe film the goings on in the castle and at the brothers' eventual live shows as if they were filming a documentary and the result is a less intimate and remote feeling that never allows us to become engrossed in the story. There is far too much shaky hand-held visual noise substituting for artiness and this in and of itself is enough to keep us feeling detached. That isn't to say that it always fails. In fact, there are a few times where it succeeds swimmingly, such as when the boys argue in front of a female journalist that seems to have one feeling jealous about his brothers interest in her.

In fact the homoeroticism of the brothers is amped up in the film to almost a mind-splitting level. It begins the minute we see the brothers for the first time close up. They are joined at the stomach and supposedly share a liver, but the two boys are able to face one and other or walk almost side by side. There are numerous scenes where Barry, who is on the left, lays his head on the shoulder of Tom, who is on the right, in a way that is so tender and sweet that it evokes lovers rather than brothers. The closeness of the brothers is hinted at many times as they are shown sleeping and even bathing together. The aforementioned argument in front of the journalist has one brother discussing the others masturbation habits in a way that evokes both treachery and jealousy.

The brothers are even shown kissing and being with girls together. The female rock journalist even begins an affair with one of the brothers. And finally, in the film's most telling moment, Barry, kisses a male band member during a drunken orgy.

The brothers Treadaway are indeed gorgeous young men and their supposed intimacy on the screen is always compelling, especially for the gay viewer. The filmmakers use a device that is devastatingly haunting throughout the film of having one brother look directly at the camera while they are being filmed while the other looks off into the distance. The result is a dreamy quality that confronts the viewer with an immediacy seldom held by actors in a film. It's as if one boy is confronting you for your admiration of his mirror image. Often times this confrontation is not accusatory as much as it is the smiling yet smug recognition of your gaze, of your lust and admiration, that only a teenage boy can create coupled with the sad, wan, distant dreaminess that is so easy to admire in such young creatures. The result is an intimacy that simply could not be created by a single protagonist.

Yet, in the end, "Brothers of the Head" ends up to be confusing and confounding. If you can tell me what the theme or idea of this film is, what its message is, that you can grasp more from this film than I did. Yes it is an interesting story. Yes, the acting is great. Yes, the Treadaway boys are luscious to behold (and spend a lot of time half-naked), and yes, we are engrossed with the film. But in the end, it all seems to be much ado about nothing. There is no sadness here, no grief, no loss... not for the audience. We like these young men and their demise is saddening. But we feel manipulated and coerced into feeling this melancholia.

If there is a glaring problem with the film during its running, it is that the brothers music, created with their new band, is almost unlistenable. It is certainly indecipherable. The lyrics here are so mumbled and distorted by the loud rock music accompanying the vocals that we do not understand them at all. This could be a moment where we could connect to them so deeply. The lyrics to the songs could represent the brothers anguish and frustration as easily as it could codify their tenderness and love for one and other and poetically suggest their feelings at their attempts to meld with the outside world.

Instead, "Brothers of the Head" is like a bad punk rock song. It is all sound and fury indicating nothing and at the end, instead of feeling some sort of release, we are left feeling manipulated, drained, emotionless and hollow inside.

Notes:

With Will Kemp. The end credits say Ray Cooper is in the film but I didn't notice or recognize him.

Script by Tony Grisoni.

A clip of the Bay City Rollers on TV is shown.

IFC and Tartan have picked up the film for a summer arthouse run beginning in July in the U.S.

Viewed at SXSW in March of 2006 with the two directors in attendance where they did a Q&A. Notes on this are on the Day 2 page of the 2006 SXSW coverage.

Report Card

Script: C+

Acting: A+

Cinematography\Lighting: B-

Special Effects\Make Up: A+

Music: C-

Final Grade: B-