Tropic Sprockets / Will and Harper

By Ian Brockway

Josh Greenbaum (Barb and Star Go to Vista Del Mar) directs the affecting and naturalistic “Will and Harper,” a documentary focusing on the friendship between comedian Will Ferrell and his collaborator Harper Steele (formerly Andrew Steele). [Showtimes and trailer at Tropiccinema.com.] The documentary is organic, engaging, and without judgment.

The famed comic Ferrell has had a long history with Saturday Night Live and writer Andrew Steele. For a period of years however, the two drifted apart. Then during COVID 19, Ferrell received an email from Steele informing him of surprising news: Steele had undergone hormone treatment to become a woman. His name is now Harper.

Though taken aback, Ferrell is not shocked and the two come up with a spontaneous idea to travel cross country from New York to California. The result is a sincere slice of life road movie and a symbiotic study of friendship without any agenda.

The initial segments show Harper and Will meeting at Saturday Night Live headquarters in 30 Rockefeller Plaza. They are greeted warmly by Lorne Michaels, Michael Che, Tina Fey and Colin Jost.

Harper is fond of diners in middle America. While some viewers might feel that this is a set up for a madcap comedy, Will and Harper play it straight as the servers mistake Harper for a man instead of a woman. Each exchange brings the friends closer together as they discuss the awkwardness of gender confusion and expectations with amiable and empathetic humor.

Ferrell admits that he was uncertain regarding how his friend would treat him as a woman, in addition to any possible unforeseen situations. Harper agrees that this is to be expected, and they share a mutual chuckle.

There are many scenes of the pair sharing a beer together and some silly light humor about the beer cans covered in actual winter jackets. The two friends have such camaraderie that nothing has changed despite Harper’s transitioning from a man to a woman, and there is no reason that it should, given the long history between them.

Things do become upsetting though when Will and Harper enter a Texas steakhouse to dine. The patrons immediately turn and glare at them with shock and disgust. Harper can only stare and turn his head in silence. Later Will checks his social media and learns that the customers invariably thought that Harper was a freak and a poser.

Will bursts into tears. This is the most emotional and powerful segment of the film, though it is nearly perfect throughout.

Harper recounts in his journals that he has pondered suicide and felt helpless. Through it all Will is by his side with empathy and a lightness of spirit.

For those of you who crave zany moments, there is one as Ferrell dresses for dinner in a Fu Manchu mustache impersonating Bette Midler’s manager. Ferrell knows how to produce a deadpan tone into an art, and he is in classic form here.

Though there are several touches of levity and buoyancy as Ferrell belly flops and talks of his friend’s new breasts, this film is profoundly serious. But to its great credit, it is also invariably warm, generous and without indulgence.

Ferrell has never been more human nor more genuine. The famous comedian is content for the most part to drop from view, letting his friend tell his story. After all, all Ferrell really wants is to stop at Dunkin’ Donuts.

While it will no doubt educate the ignorant, this is not chiefly a film about a transgender woman but rather a delicate film about friendship and a shared connection with a man who happens to be transgender.

Write Ian at [email protected]

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