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Chris Cabin Beloved by Ebert. full bio of Chris Cabin From its opening scene of a teenaged girl furiously masturbating on her kitchen floor while a phone sex operator grunts and spins debauched wet dreams to her, Jannicke Systad Jacobsen's Turn Me On, Dammit! certainly grabs your attention. Restrained both mentally and physically by the small-town environs of Skoddeheimen, her hometown in Norway, the teenaged girl in question, Alma (an effective Helene Bergsholm), is in desperate need for a proper fuck, and whom it comes from seems only a minor matter.
What she hopes is for local hunk Artur (Matias Myren) to take her into the forest for some intense hump session, or at least split a spliff with her after making love in her room. But she's also not against fondling and going down on her best friend's bitchy sister, Ingrid (Beate Stofring), or entertaining a back-room rendezvous with the boss at the local supermarket. All options, however, seem to be null and void when Artur exposes himself and presses his erection against her leg at a party, an incident that sparks a he-said-she-said debate in school that pins Alma as hyper-sexual psychotic.
The key reversal of a young woman, curious about sex and hungry for intimacy, seeking out the end of her virginity, without the ritualism of a prom or a wedding or an anniversary, is refreshing and, for at least the film's first half, allows for some lively, unpredictably funny moments. Jacobsen, who also wrote the film's script, knows her way around comedy of embarrassment and Bergsholm infuses these scenes with a teen's unmistakable eagerness to at least seem normal.That the film tampers down these events, such as when poor Alma is caught attempting to get herself off with a roll of quarters at work, and lacks a full-bodied portrayal of high-school politics and community are perhaps the chief faults that make Turn Me On, Dammit! feel more scattershot than fluid. Despite the fact that Alma is obviously the main character -- her ruthless alienation is the film's unconvincing dramatic touchstone -- Jacobsen haphazardly follows the separate goings-ons of her best friend, Saralou (Malin Bjorhovde), who is obsessed with moving to America to abolish the death penalty.
The attitude and the premise are sound and constitute a welcome divergence from largely misogynist, empty and deeply unfunny comedies that make hash of young men sticking their dicks into something, anything. But then, Jacobsen falls into similar traps as those comedies, even if they resonate as more of a problem of storytelling than sexual politics. Artur is as heinously underdeveloped as Shannon Elizabeth's Nadia in American Pie, which might have been interesting if Jacobsen focused more on his physical prowess, a key into what exactly drives Alma's hunger for him.
Even Alma's mother, played by Henriette Steenstrup, is written as little more than a flummoxed guardian, and we certainly don't come to understand any bond between her and Alma. Indeed, despite the film's bold premise, there is a familiar ring to the fact that Alma finds refuge with Saralou and Ingrid's older collegiate sister, Maria (Julia Bache-Wiig), and fits right into Maria's parlor of friends; there's even a brief flirtation with a college boy. Ultimately, the film is only partially interested in young feminine lust, an incredibly untapped reservoir for humor, insight and emotional turmoil, and ends with an act of wish fulfillment that feels perfunctory. The film essentially works as an It Gets Better promo for white, rural, heterosexual girls, as quirky and nifty as it is aimless and soft.
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