Anyone and Everyone - Documentary Review

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(More customer reviews)Over the years I have seen many coming out films, dramas, comedies, short films, and documentaries. Each of these have had one thing in common: they have told our stories, the stories of gay men and lesbians on their personal journeys. Susan Schutz had produced a coming out film that breaks out of this mold by telling us the coming out journey of the parents of gay and lesbian children. Each family in the film has a unique story -- Schutz has included families from all across the nation covering a variety of ethnic and religious backgrounds. When I first saw this DVD I was totally blown away by the honesty and openness of each family. I laughed, I cried, I was moved. This is truly an amazing film. It should be seen by anyone and everyone.

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Connected by having a son or daughter who is gay, parents across the country discuss their experiences in the documentary Anyone and Everyone. In it, filmmaker Susan Polis Schutz, depicts families from all walks of life. Individuals from such diverse backgrounds as Japanese, Bolivian, and Cherokee, as well as from various religious denominations such as Mormon, Jewish, Roman Catholic, Hindu, and Southern Baptist, share intimate accounts of how their children revealed their sexual orientation and discuss their responses. The parents also talk about struggling with the pain of their sons and daughters dealing with not being accepted by relatives or friends, and being ostracized by religious congregations. "It was so evil and so bad that we almost couldn t talk about it... You just had the idea it was so terrible that it was unspeakable," said a Mormon mother in the film. "Having heard all these awful things and what homosexuality was and then having a member of your family, a person that you have seen, a child that you have seen since the child was born, a person that was absolutely wholesome, good, kind, gentle and that put together with the word lesbian didn t add up," said a hispanic mother. This film is especially important since up to 26% of gay teens who come out to their parents or guardians are told they must leave home. Of the approximately 1.6 million homeless American youth, 20-40% identify as lesbian, gay, bisexual, or transgender. Nearly 40% of LGBT (GLBT) students report being physically harassed. In a 2001 Department of Health study of youth in Massachusetts, about 40 percent of gay and lesbian students attempted suicide, compared to about 10 percent of their heterosexual peers.

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The History Boys (2006) Review

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(More customer reviews)I did the "Oxbridge term" at exactly the same time as "The History Boys," the fall of 1983. I chose instead to accept a scholarship to an American university that I won halfway through the Oxbridge term. I've lived in America ever since, but my first 19 years was in England, and I can relate to this movie.
Some explanations are in order, because some cultural things are hard on American audiences. Someone once famously observed that we're two nations divided by a common language.
"The History Boys" is not set at a boarding school; it's a grammar school, and it's a second-tier grammar school. In the pecking order back then, you'd have had your British public (but actually private) schools, then your grammar schools led (as the movie mentions) by the likes of Manchester Grammar. Then you'd have the grammar schools like the one in the movie and it would, for these boys, have been a heck of an opportunity (if you buy into the whole Oxford & Cambridge thing, which obviously I didn't) and a bit of a reach. They'd be at a disadvantage for some of the reasons given in the movie (fewer opportunities than kids at more high-falutin' schools) and for the reason of simple English snobbery and the class system at the time.
Second, the class represented here is not, as one reviewer suggested, a mythical place where students care, teachers care and debate thrives. This is an actual place, very much how good English schools were, especially in the last year of 'A'-Levels and the Oxbridge term. It's very well-portrayed here. When I came to the USA, where I attended a fine public university, I never recovered from my disappointment that there wasn't the same level of debate and class discussion. Frankly -- and I love this country, but this was my experience -- no class I took in six years at a good university here ever challenged me as the 'A'-Level and Oxbridge classes had. I think maybe Britain's a little like Japan in having very high standards at the end of high school (and corresponding student stress) that then fades in university.
A clarification on the lives the boys go on to lead. They would end up, for the most part, in fine houses (see reviews below). That's the whole point. Attending either Oxford or Cambridge (while there are no guarantees) did pretty much set people for life if they approached it aiming for that. I've seen that from afar in the lives of my contemporaries who went there. That's why the stakes are so high in the story and success so desirable.
And a final clarification on the aspect of the movie one reviewer called "morally suspect." Maybe so, but the culture of sexuality in Britain is different from the culture of sexuality here in the States. Britain legalized gay marriage, after all, more than a year ago, with minimal fuss, and even The Times of London now lists same-sex unions without fanfare along with the heterosexual ones. The whole issue of homosexuality is different, including the assumption over there that sexual orientation is not necessarily consistent for life. And same-sex experimentation is famous in largely male or all-male British schools. So that aspect of the movie ought to be judged as much as possible in the context of the movie and probably not in an American context which -- no offense intended -- seems more inclined to censure and prudishness.
All that said, and picture quality aside, this is an outstanding movie and a great portrayal of 1983 in England, down to the cars and the music. The only thing I remember that's completely missing here is furious political debate. Britain was four years into Margaret Thatcher in 1983, and politics and social clashes were very much on people's minds, including students like these, and Alan Bennett completely omits that.
But that's my only criticism. Richard Griffiths, who is a veteran British actor whose face would be instantly recognisable to any Brit seeing the movie, is wonderful, on a "Goodbye Mr. Chips" level and better than "Dead Poets Society." Indeed, "History Boys" beats "Dead Poets" simply because it's not Hollywood-ized, it's a much more real movie.
It's got great bullseye detail, too, like the church service at the beginning where the robed priest ministers to a congregation of three, which is the state of the Church of England, Britain almost completely lacking American-style religion at this point, a very secular place despite the lack of division between church and state.
Dominic Cooper as Dakin, Samuel Barnett as Posner and Russell Tovey as Rudge stood out for me, but all the boys are great, and all of the types felt very much familiar to my memories.
The movie is often funny, the dialog wonderful, the way the boys are and the classroom scenes perfectly pitched. The essential scene is the one where Griffiths tutors Barnett one-on-one, and it's essential because it tells us exactly why Griffiths' character is a great teacher, which has to be established.
The ending doesn't bother me. This is Alan Bennett: This is about ideas. The ending furthers the ideas.
This is the same playwright who brought us "40 Years On," yet a much different play and a much different view of a much changed Britain -- and that's why Bennett has endured, because he's changed with the culture.
This is a great movie if you're not offended by frank discussion (and ambiguity) about late-teen and adult sexuality, if you're a bit of an Anglophile, and if you're willing to sit back for something that's really a long conversation rather than an action movie. All of which is why it'll have limited success this side of the big pond.

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From award-winning playwright Alan Bennett (The Madness of King George) comes this delightfully witty comedy of eight boisterous-yet-talented schoolboys hoping to gain admittance to England's most prestigious universities. They're aided on their quest by two teachers, a shrewd young upstart and an inspiring old eccentric, whose opposing philosophies challenge the boys to confront the true meaning of education and the relative values of happiness and success.Adapted from the original Tony Award winning play and starring the original Tony Award winning cast, The History Boys is an engaging, thought-provoking, and wickedly funny look at history, the pursuit of knowledge, and the utter randomness of life.

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The Birdcage (1996) Review

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(More customer reviews)American audiences flocked to this remake of the French classic, "La Cage Aux Folles" - perhaps the funniest comedy ever released in ANY language. It's no surprise that the US viewer could easily lose his or herself in this laugh riot, especially with the incomparable Robin Williams and Nathan Lane in starring roles. Lane is delicious here as the top billed female impersonator and star at Birdcage, a drag extravaganza club owned by his better half Williams. While Williams tones down his Mork routine and actually softens as a result, as funny as he his, Lane steals the movie, with a warm, knowing performance that ranks up there with STeve Martin in "All of Me" as one of the best comedic works ever on film. Dan Futterman (brilliant in "Urbania") plays Williams' son with the right mix of charm and apprehension, while Calista Flockhart (yes, Ally McBeal herself) is strong as his fiance. And that's Hank Azaria (of "The Simpsons" and the ex-Mr. Helen Hunt) as the butler, in a HYSTERICAL mode. Gene Hackman is a hoot as the bride-to-be's right-wing Jesse Helms-like character...and his final scene in drag (think Robert Preston in "Victor Victoria" mixed with Martin Landau in "Ed Wood") alone deserved Oscar consideration. Both Hackman and Lane were robbed at Award time, unlike Ugo Tognazzi (who played the Robin Williams role in the original) who scored an Oscar nomination for Best Actor. Williams doesn't come close to achieving Tognazzi's utter sincerity and charm, but the movie works regardless.
If you've seen and enjoyed the "Birdcage" do yourself a HUGE favor - suspend all fears about reading subtitles and rent thyself "La Cage Aux Folles" (part ONE, not part TWO, which is a poor continuation.) Even in French - perhaps even more as a result of being in French - "La Cage" soars now as it did long before the "Birdcage" was let out of the bag. Its universal themes speak to us in ANY language, but on-screen, the chemistry between its two main characters (indeed, their "marriage" and intimacy) is exceptional - laugh-out-loud funny, utterly winning and full of life. Whereas both Lane and Williams at times seem to be floating through the material, the actors in "La Cage" are clearly taking major risks, especially 20+ years ago when it was first released to wide acclaim. They swish and bicker themselves into your heart and soul, physically and emotionally transforming themselves into shadow images of ANY mom-and-pop couple I've ever known, whether hetero or not.
"La Cage" is flawless. If you've seen La "Birdcage" experience this one-of-a-kind masterpiece and you'll be rewarded with a raw and rowdy comedy that's pure genius.

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Lies and deceptionit's all in the family when Robin Williams must convince his future in-laws that he's as upstanding and uptight as they are in "the funniest comedy you'll see this year" (Gene Shalit, "Today Show"). Co-starring Gene Hackman, Nathan Lane, Dianne Wiest, Christine Baranski and Calista Flockhart, The Birdcage is an uproarious comedy that will send your spirits soaring. Armand (Williams) and Albert (Lane) have built the perfect life for themselves tending to their gaudy Miami nightclub. But their pastel tranquility is shaken when Armand's son announces that he's getting married to the daughter of ultra-conservative Senator Keeley (Hackman)...and they're all getting together for dinner! Can Armand and Albert transform themselves into Mr.and Mrs.Family Values in time? It'll take the performance of their lives, but they'll do anythingand everythingto pull the chiffon over Keeley's eyes!

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A Single Man (2009) Review

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(More customer reviews)George Falconer (Colin Firth), a British literature professor living in Los Angeles in 1962, is struggling to find meaning in his life. That's an awfully generic way to start a movie review, and I agree that many movies are about the struggle for meaning in life. But in the case of "A Single Man," an adaptation of Christopher Isherwood's novel, the idea seems neither hackneyed nor overused; we follow George over the course of one day and actually see and respond to his struggle to find meaning. Ever since a car accident took the life of Jim, his lover of sixteen years (Matthew Goode), George has been on a desperate search for some degree of contentment, some sign that he can love again and will be loved in return. He hasn't found it yet. He may never again find it. So why not make use of the gun in the desk drawer?
This film marks the directorial debut of Tom Ford, the fashion designer and former creative director of the Gucci house. It would be brilliant even if it had been his twentieth film. It's a story of astonishing observation and poignancy, where beauty is found not only in the form of a face or the arc of an eyebrow, but also in the cold bleakness of a winter road, where pain and death give way to encounters of surprising tenderness. It's a masterpiece of character development and performance; every one of George's onscreen appearances, for example, is an opportunity for Ford to reveal him to us, which is to say we never see him in an empty or extraneous moment. The dialogue is a perfect blend of insight, contemplation, and wit - one of those rare instances where every word is carefully placed yet strung together as naturally as regular conversation.
George is far from an uptight, prissy cliché, although he does give the appearance of being neat and orderly; always nicely dressed, always articulate, always able to keep his things in their proper place. But within, he's an absolute mess, tormented by grief, loss, regret, and above all, fear - the fear of isolation, of growing old alone and forgotten. He finds some solace with his best friend and former lover, Charlotte, a.k.a. Charley (Julianne Moore), an aging, hard-drinking British beauty who seems determined to wallow in her failures as a wife and mother. She states at one point that, as wonderful as what George and Jim had was, it was probably just a substitute for something real. George asserts, with understandable frustration, that what he and Jim had was very much real and not a substitute for anything.
As the film progresses, a relationship develops between George and one of his students, Kenny (Nicholas Hoult), who appears, at first glance, to be nothing more than an infatuated youth. But this would be a tedious movie indeed if their interactions were entirely motivated by sex; there's a definite physical attraction, no question, but ultimately, what they share boils down to the innate desire for meaningful human interaction, which works on a frequency separate from sexual orientation. Kenny, though young, is remarkably insightful and may in fact be the key to George's emotional salvation.
While symbolism is hardly new in the movies, specific images in "A Single Man" so thoroughly represent the main character's emotional turmoil that they cannot be dismissed as manipulative visual aids. Consider the use of clocks and watches, many ticking in unison with the sound of a beating heart; they tell time, something we're all caught up in and will eventually fall victim to. The second hand continuously moves in jerky motions, as if to reinforce the idea that George's life has been reduced to a countdown.
Also consider the use of color. George's memories of Jim - which pop up randomly, as they tend to do in real life - are vibrant and lush, warm and inviting, evocative of a committed, loving relationship. Compare that to the world George now sees: Faded and gray, cold and lifeless, dull and dreary. There are select moments, however, when the colors visibly amplify, as when he has a conversation with his neighbor's pleasant young daughter while waiting at the bank. As is the case with Kenny, this little girl gives George a much needed dose of social interaction.
In spite of George's orientation, "A Single Man" is not, as some would call it, a "gay" movie. Its focus is on humanity, not sexuality, and that makes it accessible, I believe, to all audiences; it reaffirms that within all of us is the need to make contact with other people, sometimes for love, sometimes for a shoulder to cry on, sometimes for nothing more than simple conversation. Of all the films I've seen this year, few have been this relatable, this touching, and even in the absence of big-budget visual effects, this visually creative. Its greatest achievement, perhaps, was the casting of Colin Firth, undeniably convincing as a broken man maintaining a façade of serenity and togetherness. This is one of the year's best films.

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SINGLE MAN - DVD Movie

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