Homeless Tobez: Happiness and the Things That Stands in the Way of It

Thomas Loone’s Homeless Tobez is a 36-minute feel-good dramedy that is made to appeal to an audience of dreamers. A wide one then. Following the eponymous character through the first steps out of deprivation and towards the kind of big lofty dream that keeps us going, the plot takes its protagonist through some really low lows before there is even the glimmer of the highs. 

Spending nights under the open sky was already bad enough to make the dream of making it as a singer-songwriter desperately important for Tobez (Loone), but the worst of it is delivered in the persons of one Malcom (Sebastian Storey) and a lady (Hayley Mitchell) who is simply too disturbing to get the basic niceties out of the way. 

The plot takes Tobez through this one day—perhaps the worst in a while—as he finds his ambitions variously challenged and (literally) trampled on by strangers. The very first step, buying a guitar, starts to look impossible. The only ray of warmth comes in the form of his friend, Dandy (Jason Adam, who may find himself traumatised by the word for some months to come). As down on his luck as his friend, Dandy takes each day as it comes. It is an easier way of coping, to be sure, and the contrast is what makes the duo fit so well together. It also creates room for excited planning, goofy exchanges, and anguished monologues. Indeed, when Tobez asks, haven’t you ever had a dream?, it is easy to expect a low-pitched, slightly comedic, mostly sincere rendition of “I’ve Got a Dream”. Thankfully, Dandy does find his humanity, and actually ends up playing a crucial role come third act. 

Hayley Mitchell delivers an incredible scene as a cruel stranger who inexplicably buys Tobez dinner, invites him into her home, and even gives up her bedroom to him. Even if the audience is left to share in Tobez’s confusion, the chill she produces is surprisingly powerful. The performance is pitch perfect, and leaves just the right amount of room to wonder if it is a prank. 

Loone shines in his final scene, performing an original song with Dandy by his side. His face is oddly poignant as the narrative intercuts between the present and the near future, as though on the verge of some breakdown that might feel too raw to stand. The closeups do wonders for it. 

Despite all this, the film leaves you with an open ending.  Does it give credence to Tobez’s climactic monologue? Is it a throwback? Make of it what you will, much like the cruel lady’s motives.

Well, at least Dandy will be around no matter what.