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The Year in Gay MoviesOn the Second Day of Christmas my true love gave to me... 2 Surfer Dudes (Shelter)
Way back in January Regent released Shelter, a quiet, good-natured romantic drama about two gay surfers who find love in Los Angeles. Starring gay-fave Brad Rowe and adorable newcomer Trevor Wright, this touching, fresh and very sexy love story managed to sidestep most of the trappings of your standard coming-out movie and offered gay audiences a well-crafted romance the likes of which hadn't hit screens since a certain couple of sheep wranglers shared a tent on a certain mountain a few years back. Shelter brought us the story of Zach, an aspiring artist whose family responsibilities are keeping him from pursuing his dreams and whose post-high-school days flipping burgers and watching his nephew are starting to spell out a life of disappointment. When Zach runs into his best friend's long-lost gay brother Shaun (Rowe) at their beach house, the two strike up a secret friendship that eventually blossoms into something more. There was a lot to like about Shelter, from the mellow vibe to the refreshing way that Zach's best friend reacted to his coming out; but the central romance between the surfing buddies was ultimately what swept away audiences. On the First Day of Christmas my true love gave me... The gayest major motion picture ever made (Milk)
Following decades of development and months of eager anticipation, Gus Van Sant's Harvey Milk biopic Milk was practically set up to disappoint. So when the filmmaker delivered a restrained, streamlined and deeply sensitive movie about the man who became the first figurehead of the gay rights movement in the United States, the results were positively electric. To date the film is one of the best-reviewed movies of the year and has earned a host of accolades ranging from a Golden Globe nomination for Sean Penn to the esteemed Stanley Kramer Award from the Producers Guild. But industry kudos aside, Milk is a tremendous achievement. The film did more than bring Harvey Milk's story to vibrant, grinning life; it took mainstream audiences into the gay experience in a way that no film before it ever has: gently, but unapologetically and without shame. Gay men of all stripes fill the screen almost constantly. Gay romance and affection and brotherhood are the architecture of the entire film, and Harvey's message of understanding and hope is delivered with incredible clarity and impact. Much in the way that Harvey Milk was himself an unlikely face of a movement, Milk's successful conception was somewhat unexpected given its development troubles and complicated subject. But an assured and fascinating script, an entirely committed lead performance and the willingness of the otherwise artsy director to shelve his more experimental tendencies in service to the story combined to bring genuine humanity to an Oscar-season biopic. In terms of gay visibility and the continued fight for civil rights in our country, the film is nothing short of a triumph. Bring on the figgy pudding! Of course, this isn't everything cinematically pink this year. Gay characters popped up here and there in other mainstream movies and a slew of direct-to-video gay indies and documentaries (like the hilarious doc Wrangler: Anatomy of an Icon, which I couldn't quite squeeze into the holiday carol above) wound their way to the top shelves at the local video store. And much as the world around us continues to evolve in terms of acceptance (or so we'd like to hope), the idea of visibility in entertainment continues to change. We saw different kinds of gay movies (Genre films! Something other than coming-out stories!) and saw different kinds of gay characters in mainstream fare, for better (Tropic Thunder) or for worse (X-Files: I Want to Believe). But beyond the images on screen, the industry itself continued to evolve as well. Gay directors and screenwriters continued to write and direct big-budget mainstream fare (Adam Shankman's Bedtime Stories, Bryan Singer's Valkyrie, Carter Smith's The Ruins, Roland Emmerich's 10,000 B.C.). And while these movies might not have promoted gay visibility through the stories they told, the men behind them did by proving that out and proud gay men can play the Hollywood game with the best of them.
And with actors at the top of their game on the small screen
continuing to come out, who knows ... maybe next Christmas Santa will
bring us a proudly gay A-List Hollywood movie star. Start making your
list!
Submitted by on Tue, 2008-12-16 22:50. |
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A Very Thorough Summation
Great Article and Great Design
Great recap...but in fairness...
...to Baby Mama, gays aren't the only parents who fuss over their infant's weight. In a hillarious real world example, I remember when one of my mother's beautiful and fashion conscious friends had her first baby. Within three months she was concerned about baby fat and asked my mother if she knew of any brands of diet formula!
Love Songs weighed in as my surprise favorite this year. Admittedly I bought the DVD because I thought the two male leads looked hot. Musicals are not usually my thing. But some of the songs in this movie were just wonderful, and as noted Gregoire LePrince-Ringuet has an amazing voice (in addition to being beyond adorable, especially in orange briefs!). The other male lead Louis Garrel also has a great voice, and is stunningly handsome. Omnisexuality such as we see in this movie is still largely unique to European films. Nobody seems to spend much time dwelling on the gender of who they love in the film or how it defines their sexuality. Love itself is it's own reason, and reward. The musical and romantic climax was stunning.
Shelter was also a beautiful romance. Also, while not a musical (the characters don't sing) the bluesy soundtrack is such a strong presence in the movie that it might as well be. I read a lot of nit-picking about it not being "realistic". But then, are chick flicks ever realistic? Most Meg Ryan movies have plots that are flat-out absurd (Kate & Leopold anyone?) The fact that this movie had an inevitable flow towards a predictable conclusion didn't make it any less wonderful.
Now I need to track down some of the other items on this most excellent list. Many thanks!
Here's our Boy Now!
http://www.youtube.com/watch?v=h_d3fqMH58s
*SIGH*
Double sigh!
SHELTER and "LOVE SONGS" ARE THE BEST
I have them both and I rewatch them all the time because they make you want to fall in love, they remind you of what a powerful force love can be and strike the perfect tone for cuddling up and giving in to a movie.
The music in both films is as much of a "character" as the actors.
I would also say that "the sun" or at least "sunlight" are definitely characters in Shelter.
Lastly, both films entice you to lean in and listen carefully (Shelter because it's so quiet and Chansons because the songs are part of the dialogue and so beautiful and funny and engaging)
All of the singing in Les Chansons d'amour is spot on but I particularly love the way that the 3 duets between Ismael and Erwann move their love story along throughout the film. It's like they are putting into song words they'd not just be able to say which is the best way for a musical to work IMO (the cell phone circling song? just yes! so perfect!!!!!)
I can't really imagine a general American audience (even a musical loving one) responding to the nuance and beautiful melancholy and depth of Ma Mémoire Sale as a love song sung to a new lover ("Hunt her down for within me she fights..." PERFECT).
Not because US audiences can't or aren't capable of getting it but just cuz I think most would be resistant to it.
I could go on and on about this movie but I'll stop cuz I know I already talk too much.
Could I BE more jealous that there is nothing like either of these movies for dykes? ;)
Thanks for a great article."Heterosexuality is not normal, it's just common." (Dorothy Parker)
Music as dialogue
That was what struck me about how well it was used in Chansons. The songs are almost like the stage storytelling tool known as an aside. The characters are voicing thoughts and thus the songs are actually important and not just there as musical accompaniment or a diversion.
I definitely agree that the cell phone song in the street was fantastic. Ismael is pushing Erwann away because he's scared of being in love again, but at the same time communicating that he really wants Erwann to persist in trying to get through to him.
Ismael then singing to Erwann in bed, asking him to help him get over Julie and how his pain goes away when Erwann holds him is so romantic. As a gay guy maybe even a little smug since at this point Ismael has female options as well, but he seems to need Erwann specifically. This isn't so much a duet as a solo, since Ismael is the one baring his soul. It is very well done.
But their final song on the window ledge was the real icing on the cake. I know, I could go on too...
Yikes
"And superhero bomb
"And superhero bomb Hancock had Jason Bateman's slimy character dismiss a few possible superhero costumes as too "homo", as though gay guys like putting on tights and boots any more than Spiderman or The X-Men. Sigh."
That'd be Will Smith's character, not Bateman's. And since Hancock is supposed to be a slimy skeezeball, it's offensive but in-character.
My Movie Gay Upset of the Year
As much as there were really good gay and gay-inclusive films, there was one major gay-upset for me: The Other Boleyn Girl.
I was super excited with the film version of Phillippa Gregory's book. Especially with Jim Sturgess as Anne's gay brother, George Boleyn.
Unfortunately, in the film, one had to be very gay and very sharp just to smell the far and unclear insinuation. Nothing close to the book's additional drama.
Two thumbs down!
Or well aware of mid-century coding.
I went to a test screening Sept. '07 and wrote comments on this, apparently to no effect. The way George's wife said he never touched her- it was something I'd expect out of a movie made in the 50s or 60s. To be fair, the historical George Boleyn being gay is a contested theory with little to no evidence. That said, I would think the source material's historical fiction would trump that. So why the downplay on that one issue? Oh, would it make the story *gasp* not family friendly or something?
exactly!
I was just so frustrated because I think Sturgess is hot, I went to the movies expecting to see him play gay. I expected the book's version on the Boleyns (where George clearly reveals to his sisters "I am in love with a man").
I do agree on your family friendly theory. I think it was more around those lines than a historical reason. However they must have encountered a homophobic producer at some point who came up with that "family friendly" reason which to me is still not enough reason as these are not Disney princesses. These are the Tudors and the Boleyns and are not very "family friendly" themselves.
We will probably never know. Anyways, I am glad you made that observation after the screening!!! :)
Wrangler