Six Months After The Oscars

[DaveM]

I have finally had time to digest each of the films that were nominated for Best Picture this past winter. And in doing so, I have come to believe that the winner, "Crash", was the weakest film of the lot, followed rather closely by the highly-touted but almost impenetrably murky "Munich".

Such judgements are of course entirely subjective, but of the lot, I found "Brokeback Mountain" far, far better than the competition, for technical prowess, artistic merit, and just plain good storytelling. I wanted to believe that Hollywood hadn't wimped out by refusing to honor a "gay movie" with its most gilded laurel.

Then I discovered that it had all happened at least once before.

For those of you who have not seen 1998's "Gods And Monsters", a slightly fictionalized biopic of director James Whale--run, don't walk. Rarely have I seen such craft and artistry displayed on screen--what could have been "a story about some people talking" became an utterly engrossing character study which aims a sharp point not merely at individual prejudice, but at the shame, rage, and ultimate sorrow created by a society in which the majority chooses to remain silent about that prejudice. Yes, the prejudice given the most screen time is that against homosexuality, but below the surface lies a universality which hits home against any form of bigotry, be it subtle or overt. The fist is wrapped in a velvet glove, but it carries a powerful blow nonetheless. The film is full of images and bits of dialogue that I do not think I will ever forget. And I know I will never view the immortal classic, "Frankenstein", in quite the same way again.

"Gods and Monsters" barely broke even at the box office, and when Oscar time came around, got a few nods: Ian McKellen received a nomination for what may be the best performance of his career, and Lynn Redgrave was nominated as Supporting Actress (said awards given to Roberto Benigni and Judi Dench for "Life Is Beautiful" and "Shakespeare In Love", respectively....anyone remember either film clearly?). Writer/Director Bill Condon received an Oscar for Best Adapted Screenplay. The film was not even nominated for Best Picture or Best Director. It did, however, receive at least 23 awards from other associations, film festivals, etc.

Strange indeed, that even in Hollywood, love apparently dares not speak its name. And what a loss to us all, that some seem determined to keep the silence.

This has been a ramble.

[Dee]

Oh absolutely Dave. Hollywood is rife with homophobia. If movie goers knew how many homos in that industry are marketed as heteros, people would faint or go screaming down the aisles. I give you Rock Hudson as just one example. For years and years he was promoted as the “romantic leading man” in Hollywood. It's okay to be Hollywood Gay, as long as no one knows.

When it comes time to vote for the Oscar, you can bet a vote for anything homo will set off suspicion and fears of shattering those unquiet illusions.

[Dar]

Dave,
I haven't seen either Crack or Munich but I did see Brokeback, so I can't say how I thought it compared to either of those. I thought Brokeback was terrific, though, both actors did a great job and the cinematography was terrific.

But, I DID see Gods and Monsters, AND Shakespeare in Love AND A Beautiful Life. I liked them all very much, and I absolutely adore anything that Ian does, BUT I have to say that of those three, G&M would be third on my list. I would see both Shakespeare and Life again in a heartbeat. I remember being very tickled by Shakespeare and very touched by Life. I remember G&M as interesting, loved seeing Brandon Fraser in a more serious role rather than another George of the Jungle type thing, and of course Ian, but it's not something I need to see again.

That's just my personal taste of course. I lean toward preferring lighter fare in my movies.

[DaveM]

I should mention that I too enjoyed "Shakespeare In Love" and wouldn't mind seeing it again (it was a lot of fun catching the bits of Shakespearean dialogue worked into a story allegedly ABOUT Shakespeare). And "Gods and Monsters" certainly isn't a "date movie", "popcorn movie", or the sort of light entertainment one would casually throw in the DVD player on a rainy evening. But I was astonished by the sheer craftsmanship that shows in every frame of the film (with a few inevitable exceptions) and at how the tale became a "message movie" without beating the message to death with a stick.

Too, "Gods And Monsters" was not merely about prejudice aimed at homosexuals. Note the personal issues Brendan Fraser's character faces, the demons he confronts and seemingly defeats or at least comes to accept. Each of us has been the innocent, rejected, unutterably lonely Creature brought to life by Boris Karloff and James Whale. Regardless of the reason for our personal alienation, James Whale gave us a friend of sorts, with whom we would always be able to identify and find a brief refuge.

And Dee: I quite agree about Rock Hudson and any number of others who got the Hollywood "invisible gay" treatment. A studio, as I recall, even arranged for Hudson to be married at some point mainly to squash rumors. Such things seem ridiculous now and probably did then....and yet, can we truly believe that this sort of silliness is not still going on?