The directorial debut from Joseph Pupello, Dress Code is the story of Bobby Russo (Gerald Garilli), a mafioso we follow both in the 2000s and as a teenager (played by Nicolas Giordano) in the 1990s. In those flashbacks we see he is the son of a violent criminal (Dominic – played by Freddie Maas) who subjects both Bobby and his mother to beatings and verbal abuse.
We can see that the boy seems to be struggling with his gender identity, manifesting chiefly in his preferring to dress as a woman. Both his mafia heritage and his background in Catholicism makes this a no-no. He spends his time with his friend Chris (Aden Dixon as a teenager; Kevin Williamson as an adult). Chris is aware that Bobby is more comfortable in feminine clothing, reacting with “he caught you again?” after the latest incident.
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The boy then doubles down on the gangster lifestyle in the years that follow, almost certainly as a way to hide his true self and to fit into the community into which he has grown. We will flit between the adult and the child versions of Bobby, as we get a character study of a man born into a world that really is not for him. His uncle Frank (Rocco Osso) proves a sympathetic presence, despite his criminal background, understanding that the young Bobby is simply discovering himself, whilst his mother, Joyce (Alex Di Trolio) is caught between empathy and trying to steer her son away from desires that could get him hurt in their conservative yet violent circles.
We pick up ten years on from the teenage scenes, at Joyce’s funeral. The adult Russo starts to make his way in the criminal underworld, with his uncle giving him his first work at the end of the funeral. Slowly, we learn that the mobster topic of the film is simply an apt trope on which to hang a tale of a man fighting to forge his own identity, against seemingly overwhelming obstacles.
From the earliest scenes with the adult Bobby, it is clear that he does not fit at all. He has what appears to be a good relationship with his girlfriend Maria (Claire Donnelly), who, it turns out, is pregnant with their first child, but his relationship remains strained with his father, and it turns out that Maria is the sister of his childhood friend, Chris, who was adopted and brought in by her family, only to end up a thief and an addict. Both Maria and Bobby have had to sublimate their true desires (she has dropped out of a Master’s programme in order to support her family).
Back with the childhood Bobby, we see him taken to a therapist by his mother, as they seek a ‘cure’ without the wider family learning of the ‘condition’. This works both as a character study, and as a look at how far society has come in a relatively brief period of time; as the teenager is treated as something of a freak, and someone to be ‘fixed’. Reacting badly to the therapist, Joyce tells Bobby there is nothing wrong with him, and that they will get through this together, but the adult will not have his mother. The film is interesting in its look at the battle between nature and nurture. Bobby is not really cut out to be a gangster, but he is a product of his environment, showing decent ability on the streets and taking to his tasks well, despite being visibly pained the first time he sees one of the crew commit murder, particularly as the killing was completely unnecessary, in context.
This is a fine film, driven by an excellent script from writer Peter Panagos. Bobby’s biggest assets in life – thinking specifically of his Uncle Rocco – are his biggest hinderances. Rocco pays for him to get out from under his oppressive father, but also drives his descent into a life of crime and a culture that take him ever further from the real him. Gerald Garilli imbues our lead with a depth, as he is both awkward and overweight, yet is able to switch into character to use his bulk to intimidate. He takes part in heinous acts yet manages to be a warm sympathetic character who whom we feel rapport, as he is simply a product of his dysfunctional family.
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The final film looks well-made and far more lavish than its undoubtedly low-budget genesis. Its topic is only a framing device – this film is not about gender identity, it is about being your true self, whatever that may be. There is real talent at every turn in this film, with only the slightly cliched feel of its portrayal of Italian-American Mafia characters the only real minus. Even a slightly languid pace is in service of generally decent character scenes. As the film moves towards its conclusion, the majority of viewers will be invested in seeing our lead reach for his true self, and break the family cycle. Recommended.
Dress Code is available to watch now in the US on Tubi.
