After a drunken house party with his straight mates, Russell heads out to a gay club. Just before closing time he picks up Glen but what's expected to be just a one-night stand becomes something else, something special.
A bullied and demoralized gay student at an all-boys school uses a magical flower derived from Shakespeare's "A Midsummer Night's Dream' to turn many in his community gay, including a comely rugby player for himself.
It's November 30, 1962. Native Brit George Falconer, an English professor at a Los Angeles area college, is finding it difficult to cope with life. Jim, his personal partner of sixteen years, died in a car accident eight months earlier when he was visiting with family. Jim's family were not going to tell George of the death or accident, let alone allow him to attend the funeral. This day, George has decided to get his affairs in order before he will commit suicide that evening. As he routinely and fastidiously prepares for the suicide and post suicide, George reminisces about his life with Jim. But George spends this day with various people, who see a man sadder than usual and who affect his own thoughts about what he is going to do. Those people include Carlos, a Spanish immigrant/aspiring actor/gigolo recently arrived in Los Angeles; Charley, his best friend who he knew from England, she who is a drama queen of a woman who romantically desires her best friend despite his sexual ... Written by
At the end of the movie the bandage that Kenny puts on George's forehead originally doesn't entirely cover the cut. Shortly thereafter it does. See more »
I always used to tell him that only fools could possibly escape the simple truth that now isn't simply now: it's a cold reminder. One day later than yesterday, one year later than last year, and that sooner or later it will come.
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Tom Ford's debut has an immediate effect and an after effect. We are taken immediately by the "preciousness" of the image. Limpid, exquisite and slightly detached. The after effect is a whole other story. Colin Firth's face comes to haunt you. His pain and his deep period of reflection has a powerful, contagious effect. Colin Firth creates a character that contains a doses of his D'Arcy of Pride and Prejudice and a pinch of his Adrian LeDuc of Apartment Zero but the rest is totally inedited. His middle age man that spends a day drowning in a memory that tortures him has a resonance that touches countless personal memories. Love without other implications, because love is all there is. I applauded until my hands hurt when I found out that Firth had won the Copa Volpi at the 2009 Venice Film Fest for this role. This was so richly deserved. I doubt I'll see a better performance this year. Bravo!
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