Heartthrob is deeply wounded and most of it is sad. Its emotional palette is reds and pinks, raw and tender, skin scrubbed too fiercely. But for all its sadness, all its discussion of never-going-to-work relationships, it’s an incredibly hopeful album. Not optimistic, per se but determined, teeth-gritted and snarling. Hope’s necessary for that, even if it is in small and ragged quantity. And hope’s never really stronger than when it’s down to its last shreds.
And therein shines the beauty of Irving’s tale, who we used to be as a society and who we have become. How these people who dared to feel different about their sexuality were treated, ridiculed, harassed, ignored, suppressed, repressed and in many cases cast aside. But over the five decades that we see Billy, we are shown a society that has grown more informed if not more compassionate; a society that has grown more tolerant if not more accepting and a world that makes place for acknowledging everyone instead of treating them as if they were invisible.
Clive Barker has lent his eyes and hands to virtually every medium, from page to the screen to the stage to the canvas to the console. However, film fans know him particularly as a horror master. There is so much undermined material for gifted fantasy filmmakers that perhaps we could dispense with further Candyman sequels and retire the Hellraiser juggernaut with contented hearts, and enjoy a Clive Barker renaissance clad in all new colors.
The rest of the movie follows their dysfunctional love story through prison sentences, Corvettes, illnesses, mansions, and tribulations. The story is part Catch Me If You Can, part The Informant!, and part Get Real. Between bright spots in which Carrey showcases genuine emotion, the story cruises along at a jerky trot, sometimes comical and sometimes just a misstep away.
The basics of the MPAA’s rating system (from here). Oh, NC-17. You’re like that friend who’s always getting stupid at parties and killing everyone’s fun. And yet it’s impossible to ignore that person, and when it’s time to blow out the candles everyone shows up anyway. Cinematical notes that this […]
Based on Christopher Isherwood’s novel, the film is set in the 1960s and takes place over the course of one day. It follows George (Firth), a gay professor who decides he can no longer continue living with the heartbreak of having tragically lost his longtime partner (Matthew Goode). In what is his last day on Earth, George spends it tying up loose ends without letting anyone know his real plan.
The universe appears to have cheated Rupert Everett. By rights, he belongs to the Edwardian age, the gay with a capital “G” nineties, Oscar Wilde and the pursuit of beauty, art for arts sake, and to hell with propriety.
Sarah Waters’ fourth novel, The Night Watch, is set in 1940s London, during and after the Second World War, and is an innovative departure from her previous three lesbian Victorian historical fictions.