In Recognition Of: The Closet (Video)

In recognition Of: National Coming Out Day

I haven’t done enough promoting of indie and short films on this site yet or at least not as much as I would’ve liked to this point. In an effort to rectify this and in recognition of National Coming Out Day I am posting a short film (a little over three minutes) below.

It’s not only one of the most beautifully edited and constructed shorts I’ve ever seen but one of the most effective and evocative statements against homophobia and a reflection of social change.

Without much further ado I present you The Closet.

Review- That’s What I Am

Ed Harris, Chase Ellison and Andrew Walters in That's What I Am (WWE)

In a somewhat similar vein to Alabama Moon, That’s What I Am is a film whose distribution path deserves a little bit of attention. The only place I heard of this playing was New York’s Quad Cinema and it was for one weekend only. Considering that I was going to be in New York that weekend I tried to shoehorn it into my plans but alas could not.

I later found out that it would shortly be available for purchase exclusively through Walmart. As if that’s not enough quirks it’s also a release from WWE, yes, as in World Wrestling Entertainment. For those of you groaning: aside from having a wrestler play a small part (Randy Orton whom I was glad to learn is also a producer for the film) there’s no wrestling involvement in the story.

That’s What I Am is a film in several ways that is sold and seems to be nothing more than a standard coming-of-age tale. However, there’s a bit more to it than meets the eye from the trailer. The film’s journey, as seen through its protagonist Andy (Chase Ellison), is the narrative of a formative time rather than one singular incident. The fact that the incidents that pervade this film are balanced relatively well gives this film a quasi-European aesthetic, why it doesn’t quite reach it will be shown later.

The trailer would lead you to believe that there are two main thrusts to the tale: not judging a book by its cover and discovering what one is, in short tolerance. Yet there’s far much more more to it.

Perhaps the most unexpected is the narrative strand that dominates a lot of the film is the allegation that the ever-popular uber-teacher Mr. Simon (Ed Simon) is gay. Considering that it’s set in the 1960s this is a perfectly legitimate grounds for termination (according to society) and it sets up a lot of the conflict and brings up the theme of tolerance in a different regard. Ed Harris is wonderful as usual and his initial denial to even respond is fantastic. I’ll not give away how this strand ends but he does eventually answer the question definitively in private and I wish he hadn’t. I think a stronger statement is made by his steadfastly saying “It doesn’t matter, I’m a good teacher.”

That serves to highlight the inconsistency in writing. Some of the dialogue isn’t as sharp as it needs to be and on occasion stumbles into the bad range but overall it is serviceable. There is plentiful voice-over by Andy as adult reflecting back which brings to mind Stand by Me because he is a writer but it nowhere near as strong.

There is also a romantic subplot in this film but what is refreshing about it is that it doesn’t dominate the narrative and it’s not a puppy love or I’m-gonna-die-if-she’s-not-mine crush it’s an attraction and the girl has a reputation, which lends some humor to it. In the Big G (Andrew Walters) subplot, the one that kicks the film off, wherein Andy is paired with him for an assignment, his being mocked for his appearance and nerdiness is only part of the equation. The other facet is that he never hesitates to be who he is and not be afraid of ridicule, meanwhile, his best friend Norman (Daniel Yelsky) is obsessed with blending in and they fight over this issue a few times.

Despite a few weak spots in the adult nucleus this film is buoyed by the strong performances of its young cast. Namely Chase Ellison, an actor whose had many strong turns either in small roles or smaller films, is a very effective “Everykid,” in this film and unlike many other films of its ilk doesn’t necessarily strike you as awkward trying to play awkward and seems to relate greatly to the part. Andrew Walters does a very effective job being the stoic, picked on Big G and I was glad to learn that in his big scene at the talent show he did his own stunt, so to speak. Daniel Yelsky is also convincing as the neurotic and fearful foil to Big G and Mia Rose Frampton plays a toned down, sweeter version of the character she is in the funniest scene in Bridesmaids.

There are a few instances in which I wish this film handled things more deftly or differently but ultimately I was quite pleased with indeed. This is a film that’s worth seeking out and is suitable viewing for the family, keeping rating in mind of course.

That’s What I Am is also available to stream on Netflix.

8/10

The Gay Dilemma

Vince Vaughan in The Dilemma

There has been much controversy swirling about the Ron Howard directed, Vince Vaughn starring, Universal film called The Dilemma, a rather apt title when you think about the conundrum the film presents. The kerfuffle is about a joke that Vaughn’s character utters “Electric cars are gay…”

Firstly, it must be said that this line is controversial because the word gay is being used out of context. It is not used in any of its eight assigned definitions. What this usage insinuates could be anything from stupid to effeminate (which is not synonymous with male homosexuality for the record).

This issue about the usage falls into no man’s land which is what makes it a lightning rod. On the one hand I do not and shall not be an endorser of censorship in any form. However, what has occurred with this line in the film falls just short. Universal didn’t have to agree to GLAAD’s demands of the line’s removal from the trailer but it was in their best interest after the publicity started getting negative. On the other hand, I firmly disagree with the misappropriation of the word.

GLSEN (Gay, Lesbian and Straight Education Network) is doing great work, which started well before the rash of suicides to combat slurs, like using gay as a synonym for stupid. I applaud their efforts and as you will see this kind of forum is where a real difference in attitudes and perceptions can be made.

Art imitates life, I believe, and not the other way around. Racism was much more pervasive and out in the open through much of American history than it is now. These attitudes were reflected in how minorities were portrayed by Hollywood. While racism still exists, of course, it is less socially acceptable now and its appearance in films, save for pedagogical purposes, is frowned upon. Hence, if homophobia becomes less present in society it’ll be a less functional device to implement in cinema.

There have been much, much more offensive gay jokes in the past such that what offends me most about this joke is actually the writing. Whether this version or the earlier version it’s bad writing and not terribly funny. Not to cast aspersions on the film as a whole. It may end up being funny and that joke just falls terribly flat because its unoriginal, unintelligent and unnecessary. Slurs should be viewed like profanity: what a writer must always ask him or herself is “Is the profanity/slur the most viable option?” If not substitute it.

Vaughn’s statement regarding the line where he defends the it rings hollow due to this fact. If the line was comedic genius I’d understand the need to defend it but whether or not this line ends up in the final cut will not change what the film is and what it’s about (knowing Vaughn there are likely ad-lib takes with different assessments of electric cars). This is not removing instances of “The N-Word” from Huckleberry Finn we’re talking about here.

My adolescence coincided with a world where “Politically Correct” was a buzzword and there is something to be learned from the concept. Mostly it’s this: political correctness can lead to over-zealousness and over-sensitivity but it can also create real change when applied to the right situations. Eradicating the use of the word gay as a pejorative would certainly be one of those cases.

The main factor that keeps me from lighting a torch, getting a pitchfork and charging the Universal Lot is the fact that I don’t think art will change perception of a given people in one fell swoop. Everything is cumulative.

Look at the very climate we live in now, in the 1980s and 90s there were to an extent varying degrees of apathy. Protests both for and against gay rights are much more prevalent now and the Gay Rights Movement has become a forefront issue not only in the US but worldwide. Many more people seem to be open about their sexuality now, which is great but there is a backlash, sadly. This openness has lead those who find fault with homosexuality, for whatever their prejudicial and ignorant reasons, to feel more inclined to persecute those who are, and those they deem to be, gay.

So the ebb and flow in societal assimilation is very violent at the moment, both literally and figuratively. Homosexuals are trying to refuse the counterculture label they’ve had to live with for better or worse and are standing up and seeking to be counted. Obviously, there are some who don’t want that. Things always come to a boiling point before a new sense of normalcy is reached. Hopefully, a nation repeatedly struck by the tragic losses of those whose only “sin” was knowing who they were will wake up and realize they are berating their sons and daughters into an early grave.

This drift in topic, away from the film itself, does have a purpose. For the word ‘gay’ to stop being used as a putdown the change has to come from society. It’s happened before, the mentally challenged and physically challenged weren’t always referred to as such. It wasn’t arts that lead the way to correcting the derogatory nicknames they acquired, it was people.

Timing is everything. That is why this silly little line has become such a talking point. If the political climate were calmer then GLAAD still would’ve objected but it may not have gotten this kind of attention. Oddly, the one thing we can be thankful for is that this film with its thoughtless insensitivity has created more debate. And discourse is good. Talking about this and saying its wrong repeatedly is the only way it’ll ever sink in. Eventually people will learn but movies won’t teach society but instead will follow. So let’s take the first step to making both better.