Inside Out

Small Town Gay Bar

Small Town Gay Bar (Director: Malcolm Ingram, USA, 2006): This film was part of the June 2007 release from Ironweed Film Club, and fea­tures two short films as well that I haven’t yet watched. I missed this when it played ori­gin­ally at this year’s Inside Out fest­ival, so was glad to see it on DVD so soon.

While my own exper­i­ence with gay bars has been pretty lim­ited, I under­stand that they serve a vital social func­tion within the com­munity, serving as sanc­tu­aries from a world that is very often hos­tile to gay people. The situ­ation is even more dire in the rural South, where pre­ju­dice has been tol­er­ated and even encour­aged for a long time. This small film keeps its focus tightly on a very spe­cific area, north­eastern Mississippi, and on the pat­rons of a bar called Rumors, loc­ated in tiny Shannon, pop­u­la­tion 1,726. In rural com­munities where everyone knows everyone else, it’s not unusual for gay people to stay “in the closet” and so the bar becomes the only place where they can actu­ally be them­selves. However, since Mississippi is in the middle of the “Bible Belt,” the bars are often tar­getted by con­ser­vative church groups and forced out of busi­ness. Part of the film covers the his­tory of gay bars in this part of the state, and Crossroads, once loc­ated in larger Meridian (pop. 39,000), seemed to be just the sort of place that con­ser­vat­ives would want to close. As one former patron put it, the sense of des­per­a­tion was so strong that it became a sort of circus, a place where “any­thing went” and so local law enforce­ment found a way to close it. Happily, this same former patron bought the prop­erty and reopened it as a much more con­genial place, recog­nizing that people were being forced to drive sev­eral hours to Memphis for lack of a local place to go. I found myself reminded very much of British pub cul­ture while watching the film, where the bar is not only a place to drink and meet romantic part­ners, but a hub of inform­a­tion and a sur­rogate family. Ingram’s film does a great job of cap­turing a sense of place and of the very unique people who pop­u­late it.

Perhaps the only weak­ness I found in the film was in its choice of counter-voices. Reverend Fred Phelps (of GodHatesFags.com fame) was born in Meridian, so I can see why the film­maker wanted to fea­ture him, but giving this nutbag so much screen time was unne­ces­sary. Ingram also inter­viewed Tim Wildmon of the American Family Association, another extreme organ­iz­a­tion with their headquar­ters in nearby Tupelo. While this gen­er­ated lots of sparks, I was rather hoping to hear more from local reg­ular people and even local pas­tors instead of people whom the majority of Americans would view as raving lun­atics. As well, it would have been inter­esting to hear why the pat­rons of Rumors and the other bars haven’t just given up and moved to larger cities where they could live more openly.

As a side note, I was intrigued when I heard so many Toronto bands on the soundtrack (Metric, The Hidden Cameras, Broken Social Scene) and guessed, right­fully, that dir­ector Malcolm Ingram was indeed from Toronto. I’d love to hear what drew him so far from home to tell this story.

Official site for the film

7/10(7/10)

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Bob and Jack's 52-Year Adventure

Bob and Jack’s 52-Year Adventure (Director: Stu Maddux, USA, 2006): Bob Claunch and Jack Reavley met in the early 1950s when both were sta­tioned with the army in Germany. This charming film charts the course of their love affair over the next half-century and beyond. Despite the rather unima­gin­ative title, the film deftly weaves together archival photos, audio record­ings (both men worked for Armed Forces Radio and later bought a radio sta­tion together) and present-day inter­views to tell a remark­ably con­ven­tional love story that, because it involves two men, makes it all the more remarkable.

I liked the way dir­ector Maddux filmed the inter­views with one man closer to the camera, allowing us to cap­ture each man’s facial expres­sions when reacting to the other’s com­ments. Just like all old mar­ried couples, these guys finish each other’s sen­tences; that is, when they’re not inter­rupting each other.

With all the debate over whether gay mar­riage should be “allowed,” it’s helpful to see that it’s really existed all along.

Official site for the film

8/10(8/10)

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Glue

Glue (Director: Alexis Dos Santos, Argentina, 2005): I missed this film at TIFF last year, and was glad to get the chance to see it. Glue is unmis­tak­ably a first film, with lots of exper­i­ment­a­tion, some of which suc­ceeds and some of which fails. Set in rural Patagonia, the film com­bines a soundtrack that fea­tures the Violent Femmes and moody hand­held cine­ma­to­graphy to give us a window into the life of Lucas, a bored and sexu­ally con­fused 16 year-old.

Lucas spends most of his time riding his bike around with his head­phones on. He rough­houses ambigu­ously with his friend Nacho, and when they meet shy Andrea, the three form an unusual bond. This isn’t a film with a huge dra­matic arc, and by the end, nothing really feels resolved, but it cer­tainly cap­tures a cer­tain time and place in the lives of a few characters.

One of my frus­tra­tions with the film was its con­stant pur­suit of the artsy shot instead of the more direct shot. The overuse of extreme close-ups and the reli­ance on nat­ural lighting left me scratching my head some­times, as I tried to figure out exactly what was going on. The use of Super 8 footage was a nice touch, adding an ele­ment of nos­talgia, but again it may have been a bit over­done. There were a few places where a steadier camera would have helped as well, espe­cially when shooting land­scape scenes.

The film feels long at 110 minutes, and since there is rel­at­ively little dia­logue, some of the admit­tedly gor­geous shots of the Patagonian land­scape could have been trimmed, but this is a for­giv­able sin for a first-time fea­ture dir­ector finally get­ting a chance to stretch out things. I look for­ward to seeing Dos Santos’ next film.

7/10(7/10)

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The Life of Reilly

The Life of Reilly (Directors: Barry Poltermann and Frank Anderson, USA, 2006): If you grew up in the 1970s like me, you couldn’t avoid Charles Nelson Reilly. He was on Match Game, Hollywood Squares, Lidsville, Uncle Croc’s Block, and made reg­ular appear­ances on The Tonight Show. What I didn’t know about Reilly was that he had been a Tony Award-winning actor on Broadway in the 50s and 60s, and that when he dis­ap­peared from tele­vi­sion, he went on to become a beloved and respected acting teacher.

This film doc­u­ments a per­form­ance of Reilly’s long-running but also long-retired one-man show, “Save It For The Stage: The Life of Reilly.” The dir­ectors con­vinced him to take it out of moth­balls for one last per­form­ance in 2004, and the result is this film. There is a bit of archival footage mixed in, and some music, but what the dir­ectors have done is essen­tially edit down a three hour long stage per­form­ance into some­thing half that length. Which is why although it’s an amazing story, it’s just not that great a film.

Reilly has had a most inter­esting life, and he’s a great storyteller. That he even forged a career as an actor is incred­ible, con­sid­ering his unbe­liev­ably dys­func­tional family. His descrip­tions of his soul-crushing mother are hil­arious, but also very sad. And when he even­tu­ally got an inter­view with the head of NBC in the early days of the tele­vi­sion era, he was told, “They don’t let queers on tele­vi­sion.” His pro­lific appear­ances in the 1970s almost seem to be his way of exacting revenge.

But because his story was so inter­esting, I wanted to know more. There’s very little about the fact that he is gay. No stories about crushes, romances, rela­tion­ships, and only the NBC story about any kind of dis­crim­in­a­tion. One thing that emerged from the film was Reilly’s long and (to me) sur­prising friend­ship with Burt Reynolds. I would have loved to have heard a few more anec­dotes like this about his friends. It just seemed like there was so much more to tell, and knowing that the stage show was longer, it made me ques­tion the dir­ectors’ decision to cut material. As well, apart from Reilly’s riv­eting per­form­ance, the film­makers didn’t add much ori­ginal work.

Although that makes it sound like I didn’t enjoy the film, that would be untrue. I wanted to hear even more from this fas­cin­ating man. Unfortunately, the show is back in moth­balls, and I don’t see him touring it again, not at 76 years of age. Pity.

May 28, 2007: I just found out the very sad news that Charles Nelson Reilly has passed away. I’m very glad this film was able to convey a sense of the won­derful drama of his life and his skills as an actor. Try to see it if you can.

October 23, 2007: Good news. The film will be opening across the US next month, and the film’s web site has been newly redesigned with lots of con­tent. The film will be playing at the Bloor cinema in Toronto from November 30 until December 13, according to the site. Don’t miss it!

Official site for the film

7/10(7/10)

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