Film Festival Reviews

Provincetown Wrap-Up, 2006

by Chris Kriofske

FABULOUS! THE STORY OF QUEER CINEMA
directed by Lisa Ades & Lesli Klainbergt
Few documentaries can say something enlightening about an entire film movement or genre, especially one that encapsulates so much. A decade ago, THE CELLULOID CLOSET very nearly did that, although it benefited from excellent source material (Vito Russo’s book). This doesn’t have such a particular focus or thesis and thus, much less of an impact. Kicking off with an all-too-brief peek at renegade underground filmmaker Kenneth Anger and zipping through the decades (with odd, distracting timelines signaling out significant historical moments, from Stonewall to Matthew Shepard), FABULOUS spends its bulk on gay indie cinema of the past two decades—no surprise, this being an IFC production. Using the tried-and-true clips and talking heads format, it attempts to make a case as to how we moved from early, groundbreaking-for-their-time efforts (DESERT HEARTS) to the passionately charged New Queer Cinema of the early ‘90s to the interchangeable gay romantic comedies of recent years. I’m still not clear on how we got from here to there, but at least some of the interviewees are as entertaining as the clips themselves, especially one where Heather Matarrazo (who is gay) hilariously recounts how she identified with the scene in WELCOME TO THE DOLLHOUSE where her character Dawn Weiner is called a lesbian by a clique of popular girls. FABULOUS is a pleasant cable-TV time-killer, and maybe someone with little knowledge of film history will see it as a competent primer of sorts. Me? I’d rather just watch FIREWORKS, MALA NOCHE, POISON, etc; again. 2.5 cats

Swanberg’s central conceit—that this technology created to make communication easier doesn’t exactly work the way it was intended to—is timely and appealing and, on occasion, I did indeed laugh out loud. Unfortunately, too much time is lavished on Bewersdorf (who’s affable but bland) and his video-sound collages. They’re enjoyable the first time they literally pop up onscreen but soon wear thin and seem self-indulgent. We’re left with precious little development for any other character. Swanberg shows promise chronicling the very specific quirks of his young generation, but he’s not quite there yet, at least compared to Andrew Bujalski or the Duplass Brothers (THE PUFFY CHAIR), both of whom have a stronger hold on conveying and exploring the implications of what’s not being said. 2.5 cats

We get to know many of the bars' regulars—most notably Alicia, an engaging male drag performer who alternates between emceeing shows at Rumors and working sans costume as a veterinarian's assistant. We also get a sense of how uncommonly diverse (and proud) this community is. Unlike most bars in larger cities, both places here act as safe havens for not only gay men, but also lesbians, transsexuals, and gay people of color—that last group is particularly significant, as most straight bars in the area are still racially segregated.

Ingram doesn't shy away from exploring the rampant homophobia in this region; he interviews anti-gay figures Fred Phelps (of the laughable God Hates America campaign) and Tim Wildmon (of the American Family Association); along with a sequence about the violent murder of one of Rumors' young patrons, the film expertly illustrates how dangerous this environment can be for gay people. Before long, you understand just how vital these bars are; outside them, being "out" is not an option.

Technically speaking, SMALL TOWN GAY BAR isn't perfect. Even at 81 minutes, some scenes feel a little rough and could've been edited down. But on an emotional level, the whole film hits quite hard. What starts off as a novelty of an idea suggested by the film's title soon blooms into something unexpectedly illuminating, moving and elegiac. I can only imagine the effect it will have if audiences both gay and straight across the Deep South get to see it. 4.5 cats

In 1975, Tom and Barry Howe, 17-year-old twins conjoined at the stomach, are plucked from their home on a remote moor and, without delay, molded into rock stars. The boys are envisioned as a cross between a teen idol act (their svengali shows them footage of the Bay City Rollers) and an all-out freak show. Predictably, they follow the usual trajectory of getting exploited and poisoned by the industry—innocents turned on to copious amounts of sex and drugs. Intriguingly, the film suggests that once the boys start writing their own songs, they sort of invent punk. Also intriguingly, the film doesn’t shy away from the nearly erotic bond they have with each other, and how Barry’s assertiveness clashes against Tom’s internal quietude. Credit Harry and Luke Treadaway, the fraternal twins who play Tom and Barry. Both actors are excellent, easily enabling us to look past the outer freak and into their characters’ souls.

For me, it took a second viewing for the film to fully cohere; there’s just so much to digest (the abusive manager, the intruding female love interest, the Ken Russell-as-himself cameos, etc;). However, rather than making an obvious crowd pleaser, Fulton and Pepe (previously known for the “real” doc LOST IN LA MANCHA) have taken a decidedly artier route, one Todd Haynes or especially Derek Jarman would’ve appreciated. What a curious little film, probably destined for a small, fanatical cult. Still, after both viewings, its cruel, unusual beauty has stuck with me for days. 4 cats

THE LIFE OF REILLY
directed by Barry Poltermann and Frank Anderson
Like most of you, I know Charles Nelson Reilly from his 1970s appearances on THE "Match Game": permanently seated on the panel’s upper right-hand corner next to his foil, Brett Sommers, he was that decade’s Paul Lynde, only nastier, crankier, and arguably a more inspired improviser.

Hard to determine what’s more shocking: that Reilly is still alive (he’s in his early 70’s) or that he’s actually an accomplished stage performer, Tony award winner and acting teacher. This concert film is culled from the two final performances of “Save It for the Stage”, his one-man show that ran for a few years earlier this decade. It’s essentially Charles telling us his very curious life story, taking us from an eccentric, near-tragic childhood in the Bronx with his institutionalized father and outspoken mother to his discovery of a love (and talent) for acting. We hear of heady, early days spent in Manhattan studying with a luminous who’s-who of contemporary performers, initially being barred from working on the boob tube because of his homosexuality, and making a triumphant comeback later in his career, popping up on game shows, kids shows, sitcoms and even an episode of "The X-Files."

Reilly relays his story with the passion, wit, and subtlety of a truly great actor. He proves himself a master of language, tone, and timing, revealing punchlines at just the precise, unexpected moment. Although it clearly condenses what is usually a three-hour stage show, this film is a sympathetic document that fully captures its essence. Involving from start to finish, THE LIFE OF REILLY is a fabulous substitute for the now-defunct show, and you can’t help but chuckle at the on-the-street interviews that open the film, for many of those questioned about Reilly also thought he was dead. 5 cats

FAT GIRLS has all the elements of a stupid, silly comedy, but for all its satire and lack of polish, a surprisingly genuine and sweet film emerges. Theaker and Fink both nail their characters and gradually subvert any trace of stereotype apparent in them, while Christian is winning in his enthusiasm and self-deprecation. Though not exactly groundbreaking, it’s fresher and more likable than most gay-themed comedies out there. Partially due to its unauthorized, big-name soundtrack, FAT GIRLS has only played festivals, although a DVD is supposedly in the works. Let’s hope Christian can hang on to the Air Supply song that hovers over an unforgettable student dance sequence. 4 cats

Kelly Reichardt’s film is a plotless wonder—at times a character study, but really more a layered mood piece concerned with spatial/environmental relationships and how they affect our consciousness and perception. This naturally owes a debt to the work of Antonioni and Kiarostami, but Reichardt’s film is determinedly American. Melancholy and regret regarding this country’s current state of affairs gently looms over the film like a specter. The Air America radio broadcast Mark listens to in his car is one evident cue. However, it’s mainly expressed in far subtler terms. We hear it in Kurt’s explanation of the film’s title at a climactic trip to a hot springs bath, and in an earlier moment where he lets his guard down ever so briefly as a messy rush of conflicting emotions suddenly pour out of him. The most frustrating thing about OLD JOY is that it offers few resolutions, few obvious grasps at enlightenment. But, depending on what you look for in a film, you may find that to be its most remarkable feature. It rings true as it suggests, in its beautifully open-ended final scenes, that we can’t always recapture the past. 4.5 cats

With a thoughtful screenplay, arresting visuals (don’t miss the Jean-Pierre Jeunet-inspired opening credits) and great performances all around, LOOKING FOR CHEYENNE is an admirable effort, even it does often lurch at an almost somnambulistic pace. I admittedly viewed it half-awake under the spell of film festival fatigue (and a few restless, chattering moviegoers sitting behind me didn’t help much with my concentration, either). Fortunately, it’s been picked up by Regent Releasing for US distribution in 2007, and I look forward to a second viewing. 3.5 cats

In its second half, the film shifts back into the SPELLBOUND/WORD WARS model of profiling top competitive players in the field and follows them to the world championship in Connecticut. It’s compelling, but certainly not as dramatic or outright moving as watching the kids in SPELLBOUND was—perhaps that excitement of hinging on every single letter spoken just doesn’t translate to someone standing in front of and filing out spaces on a ridiculously larger-than-life crossword puzzle. Still, WORDPLAY is rarely shallow or static, and it taught me a lot of cool stuff I never knew about its subject. 4 cats