Joaquin (Polo Ravales), an unassuming fisherman, is forced to confront his homosexuality when his sex-starved wife Cynthia (Althea Vega) returns from her overseas job eager to get pregnant.... See full summary »
A look at the life of Alfred Kinsey, a pioneer in the area of human sexuality research, whose 1948 publication "Sexual Behavior in the Human Male" was one of the first recorded works that saw science address sexual behavior.
Felix is secretly in love with Ralph. This doesn't seem to be the biggest problem. But Felix is 15 and Ralph his 34 years old soccer coach. They meet every day in an ambush. One day Felix ... See full summary »
Lonely teenager Marc is secretly in love with Olaf, the cool boy-next-door. He dreams about a relationship with him, and when the two go camping, this dream seems to become reality for Marc... See full summary »
Amidst a vibrant house party, Downing explores the complicated minefield of teenage sexuality as John, the isolated local gay lad, finds an opportunity to exact revenge on his straight oppressor, the popular and handsome Daniel.
Ross William Wild,
In a suburb of London, young Jamie is escaping sport hours, to avoid being the victim of his comrades. Young Ste, his neighbor, is beaten by his father, and comes to sleep overnight. They discover new feelings, sleeping in the same bed.
Young girl spends her adolescence in an institution for minors, developing some masculine traits in her personality. In this hostile environment, she can only find some sympathy in a ... See full summary »
Ana Beatriz Nogueira,
Fernando, a.k.a. Fernanda, a 19-year-old Brazilian transvestite, travels to Milan and becomes a prostitute to finance sex-change surgery. Fernanda dreams of becoming a "real" woman, but in ... See full summary »
Ingrid de Souza,
It's Christmas Eve 1971 in Manhattan's Greenwich Village, and the regulars of the local gay bar "The Blue Jay" are celebrating. Not much has changed since the Stonewall riots, and while the... See full summary »
A couple of gay men must break up due the impossibility of one of them to accept his homosexual condition. The farewell gets very difficult when the other one tries to convince him to accept himself and not to leave him.
As of 2007, one of only three films since the advent of the Best Adapted Screenplay Oscar to win the award without receiving a Best Picture nomination as well. The first was The Bad and the Beautiful (1952), the second was Sling Blade (1996). See more »
During a meeting with James Whale, Clayton has a drink in his hand. The end of one shot shows the glass in one hand while the beginning of the next shot shows it in his other hand. See more »
She was ugly when I brought her. I not like her. Mr. Jimmy not like her. Better you indicate, Mr. David.
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The story of this motion picture is based upon certain, actual events and persons. However, some of the characters, incidents and names are fictionized. See more »
A historical drama about famed director James Whale (Ian McKellen), Gods and Monsters finds Whale primarily in his last years, living relatively modestly in 1950s Hollywood. A heavy emphasis is placed on his homosexuality and his complex relationship with his young male gardener, Clayton Boone (Brendan Fraser).
Gods and Monsters is an unusual film in that although it's not very plot heavy, there is little feeling of a lack of substance. It's really a personality study, but a very deep, multifaceted look at Whale, Boone and to a lesser extent, Whale's domestic helper, Hanna (Lynn Redgrave). As such, the film largely hinges on its performances, which couldn't be better.
Fraser is perhaps the most impressive, as the tenor of his role is very different than most of the material he's tackled over the years. He never fails to sell his nuanced character, who is something of a lower-class enigma with a clearly troubled past and a desire for a simpler future, but who hardly knows how to express or achieve what he desires. The description is almost a perfect reflection of Whale, as well, as we come to realize. Of course McKellen and Redgrave are good, too, but their roles are more along the lines of some of their past fine work.
Echoing the parallel between Boone and Whale's histories and dispositions, Whale's life is shown as being deeply mired in the themes of his two Frankenstein films, even though he is shown as publicly wanting to play them down. Whale is something of a cross between Colin Clive's Dr. Frankenstein, Ernest Thesiger's campy Dr. Pretorius and Boris Karloff's sympathetic monster, enjoying the role of creator as much as the simple pleasures of food and a smoke, and ultimately desiring friendship rather than forlorn loneliness in his twilight years. Whale's loss of his creation on The Road Back (1937), from which he temporarily recovered his composure, and the perceived "monstrosity" of his sexual orientation and eccentricities began a slow process of alienation from the milieu he loved at one time. Like the Monster seeking emotional recompense, especially in the face of imminent destruction in the wake of a stroke, Whale attempts to latch on to whatever intimacy he can find from others, and ultimately expresses an embrace of death over living.
Although the historicity of the film may be questionable on some accounts, it's important to remember that the film, although a historical drama, is still fiction, and many changes are by way of normal "literary license", designed to underscore more abstract points about Whale's life and character.
Director Bill Condon nicely inserts select scenes from Whale's past, including his experience in World War I, which informed his films such as Journey's End (1930), and a wonderful recreation of Whale filming a scene from Bride of Frankenstein (1935). We also see an almost amusingly truncated version of the latter and some typical peanut gallery remarks showing how Whale's work was apt to be misunderstood. Carter Burwell's beautiful, understated music is also worth noting. My only small complaint about the film is that I would have like the music to appear more frequently than it did.
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