Tag Archives: Gay/Queer

308. FUNERAL PARADE OF ROSES (1969)

Bara no sôretsu 

“Elle est dans ma voix, la criarde!
C’est tout mon sang ce poison noir!
Je suis le sinistre miroir
Où la mégère se regarde.”

“It’s in my voice, the raucous jade!
It’s in my blood’s black venom too!
I am the looking-glass, wherethrough
Megera sees herself portrayed!”

–Baudelaire, “L’Héautontimorouménos,” Fleurs du Mal (English translation Roy Campbell)

Recommended

DIRECTED BY: Toshio Matsumoto

FEATURING: Peter (Pîtâ), Yoshio Tsuchiya, Osamu Ogasawara, Toyosaburo Uchiyama

PLOT: Eddie is a rising star in a Japanese drag cabaret; he is having an affair with the bar’s owner, Gondo. The club’s “madame,” Leda, who is also sleeping with Gondo, grows jealous of Eddie and devises a revenge against him. This story is served up out-of-sequence, however, and often broken up by stand-alone vignettes and documentary-style interviews where the actors are questioned about their alternative lifestyles and their roles in the film.

Still from Funeral Parade of Roses (1969)

BACKGROUND:

  • This was director Toshio Matsumoto’s first feature film after producing nine shorts (mostly documentaries). Matsumoto would continue to work largely in the short format: among his thirty-four credited directorial works, only four are categorized as full-length features. He was also a critic and theorist whose collected writings span six volumes. He died in 2017.
  • The “gay boys” were played by non-professional actors from the Tokyo homosexual community. The star, Peter, developed an acting career afterwards, advancing far enough to land the role of the Fool in ‘s Ran.
  • The Japanese word meaning “roses” was also derisive slang for homosexuals.
  • The avant-garde short screened within the film is “Ecstasis,” which also stars Peter and Toyosaburo Uchiyama.  Matsumoto released it separately.

INDELIBLE IMAGE: Eddie’s face, not androgynous, but wholly feminine, though glamed-up with an array of tiaras, false eyelashes, and decorative star stickers. We particularly like the scene where Leda (dressed as a geisha) is admiring herself in the mirror (and silently incanting “Snow White”‘s “mirror, mirror, on the wall…”), as an image of Eddie strides up from behind, invading Leda’s looking-glass in his black evening gown.

THREE WEIRD THINGS: Ladies at a urinal; drag queen shootout; too-literal Oedipus complex

WHAT MAKES IT WEIRD: Helped along by an earnestly queer cast of amateurs, Funeral Parade of Roses is a masquerade drag burlesque, a tragic and absurd procession of countercultural confusion among “gay boys” in a tumultuous Japan. A psychedelic-era movie set in Tokyo’s underground homosexual community that takes its bearings from “Oedipus Rex” and name-checks Jonas Mekas and Jean Genet along the way—pausing for a liberal dose of slapstick—is bound to turn out weird.


Brief fan-edit of scenes from Funeral Parade of Roses

COMMENTS: “Each man has his own mask,” says the voice from the Continue reading 308. FUNERAL PARADE OF ROSES (1969)

CAPSULE: CLOSET MONSTER (2015)

DIRECTED BY:  Stephen Dunn

FEATURING: Connor Jessup, Aaron Abrams, Aliocha Schneider, Isabella Rossellini (voice)

PLOT: A closeted gay teenager who wants to be a horror makeup artist finds himself inhibited from the same-sex experiences he craves due to a traumatic hate crime he witnessed as a child.

Still from Closet Monster (2015)

WHY IT WON’T MAKE THE LIST: If you want a coming out story, and you want it to be slightly weird, this is an option. If you want it really weird, you’d be better off with Der Samurai, however.

COMMENTS: In its short existence, the “coming out” film has already adopted certain clichés: the disapproving macho dad who fears a “wimp” son, the ambiguously homosexual/bisexual love interest, loss of virginity at an ecstasy-fueled rave. Closet Monster doesn’t throw away this boilerplate, but it does cleverly distract our attention from the usual structure with bizarre touches meant to evoke the troubled feeling of growing up different. Monster mixes in tropes from the horror movie (an appropriate import) and, in its most whimsical and salable touch, gives us Isabella Rossellini as the voice of Oscar’s hamster spirit guide (wittily, the pet is ambiguously gendered). A series of hallucinations, mostly stemming from a traumatic homophobic assault Oscar witnesses as a child, round out the weirdness.

Steven Dunn’s direction in his first feature is confident, although when dreamy Wilder enters the picture the will-they-won’t-they second act does drag. The horror angle, which seemed like the film’s  hook, gets pushed aside for the type of dramatic development we’ve seen many times before. But the actors are universally competent, led by conflicted Jessup. Dad Abrams has a nicely complicated character: he is more of an all-around mess—well-meaning but impulse-control challenged—than the simple homophobe he might have been. The horror scenes return at the very end, when Oscar confronts his repressed longings, including hallucinations involving vomiting bolts and a gory impalement with an iron rod. It ends at one of the most marvelously idyllic locations in Newfoundland, a mystical modernist cabin set on a rock outcropping overlooking the sea. Closet Monster is not the whimsically surreal gay horror movie we’ve been waiting for, but it is a decent watch while we wait for someone to perfect the formula.

Closet Monster won the award for Best Canadian Film at the 2015 Toronto Film Festival. At the time of this writing you can catch it streaming on Netflix.

WHAT THE CRITICS SAY:

“Willfully weird tale of a gay youth in a world of confusion. Noisily off-kilter… the determined eccentricity of the entire conceit—liberally laced with moments of hallucinatory surrealism—weighs the movie down, creating an airless ambiance at odds with any youthful verve which might appeal to the viewer.”–David Noh, Film Journal International (contemporaneous)

 

240. EISENSTEIN IN GUANAJUATO (2015)

“And a curious use of side-stepping metaphor and associative poetry is involved and embraced – all of which I came later to understand as characteristics of montage, the cinema of comparison – film by association – an ‘only-connect’ – cinema, cinema at long last not a slave of prosaic narrative but hopping and skipping about with serious purpose to run like the human imagination runs, making everything associative till everything past, present and future, old and new, both sides of the wall – like Cubism – which so influenced the contemporary Russian avant-garde in painting – though Malevich said that Eisenstein could never join the Russian avant-garde, he was ‘too real’. Amazing! I had found my first cinema hero.”–Peter Greenaway on Sergei Eisenstein (from director’s notes to Eisenstein in Guanajuato)

DIRECTED BY:

FEATURING: Elmer Bäck, Luis Alberti

PLOT: In 1931, Soviet director Sergei Eisenstein (Battleship Potempkin) is in Mexico, gathering material for a new movie. While there, Eisenstein, a closeted homosexual, falls in love with his Mexican guide. He becomes more interested in the romance than the movie, but when his American financiers back out and Stalin calls him home, the director must abandon his first true love.

Still from Eisenstein in Guanajuato (2015)

BACKGROUND:

  • Eisenstein in Guanajuato begins from a real life episode. In the 1920s Sergei Eisenstein made three film in Russia—Strike, Battleship Potempkin, and October [AKA Ten Days That Shook the World]—that were globally regarded as classics, especially for their revolutionary kinetic editing. In 1928, Eisenstein was allowed to leave the Soviet Union as a sort of artistic goodwill ambassador. He toured Europe and North America, lecturing on Soviet film while learning the techniques used in other countries (specifically, the new technology of synchronizing sound to film). While abroad, the writer Upton Sinclair and his wife Mary agreed to fund Eisenstein with $25,000 to make a film in Mexico. Stalin worried that Eisenstein might defect and called him home, while the director simultaneously quarreled with his American backers over his extravagant expenses. The feature film, which would have been titled ¡Que viva México!, was never completed, although the Sinclairs edited some of the reported 250 miles (!) of film Eisenstein shot into three shorts. Eisenstein was never able to obtain the footage to edit himself.
  • Based on diary entries and homoerotic sketches he made, Eisenstein is widely believed to have been gay, and his marriage to Pera Atasheva a platonic one. There is no hard evidence he ever acted on these inclinations—although of course if he did he would have taken pains to hide the evidence, since under Stalin homosexual activity was punishable by five to ten years of hard labor in a prison camp.
  • Peter Greenaway originally planned the film as a documentary.
  • Try as he might, Greenaway could not find a Russian actor of the right age and appearance who was able to speak English and Spanish convincingly and was willing to appear nude in a gay sex scene. Elmer Bäck is a Finnish actor previously seen only on Finnish television.
  • Greenaway has announced a prequel, Eisenstein in Hollywood, intended to be completed by 2017.

INDELIBLE IMAGE: Probably, the image that sticks in your mind will come from the sex scene centerpiece—one of the most explicit gay romps in a mainstream film, and one in which the lovers discuss colonialism and syphilis as Eisenstein is anally deflowered. We don’t want to ruin the, er, unusual climax where Palomino storms Eisenstein’s Winter Palace for you, however.

THREE WEIRD THINGS: Looming desperadoes; shower phone; animated angel porn

WHAT MAKES IT WEIRD: This lurid and delirious biopic of Russian director Sergei Eisenstein plays like Peter Greenaway was possessed by the gay ghost of , desperate to come out and obsessed with a postmortem affection for split screens.

Original trailer for Eisenstein in Guanajuato

COMMENTS: It’s fair to say Eisenstein in Guanajuato is Peter Greenaway’s Ken Russell movie: an erotically charged imaginary biography of an artist in the throes of passion, and a salacious sneer at the Continue reading 240. EISENSTEIN IN GUANAJUATO (2015)

LIST CANDIDATE: MY OWN PRIVATE IDAHO (1991)

DIRECTED BY:

FEATURING: River Phoenix, , William Richert

PLOT: A young, narcoleptic gay prostitute searches for his mother, with the help of a slumming fellow hustler who is heir to a fortune.

Still from My Own Private Idaho (1991)

WHY IT MIGHT MAKE THE LIST: My Own Private Idaho weaves two weird premises together: the story of a narcoleptic searching for his mother and a modern adaptation of Shakespeare’s “Henry IV, Part I.” The movie then adds surreal touches and sets it all inside the world of gay street hustlers.

COMMENTS: Sometimes the line between a “glorious mess” and a plain old-fashioned mess can be very thin, and very personal, indeed. I couldn’t really argue with anyone who sees Idaho as an eccentric gem, but the film has always seemed more like a failed experiment to me. A “Henry IV” adaptation set in the world of street hustlers might have made a good movie (although Idaho suggests that a different approach, with less actual Shakespearean dialogue and no Keanu Reeves, may have been required). Similarly, a bittersweet indie about a narcoleptic hustler searching for his lost mom might have made a good movie. But when slapped together, the two storylines don’t really work; Idaho feels like an interesting story that keeps getting interrupted by a high school class’ Shakespeare rehearsal.

River Phoenix, only two years away from his fatal overdose, is beautifully cast as the fragile prostitute who falls into a spontaneous slumber when stressed (and the life of a street hustler does tend to arouse the occasional stressful situation). He’s dreamy, in both the literal and figurative senses of the word. Keanu Reeves, on the other hand, isn’t very good—but in this case, that’s not necessarily a bad thing. At this point in his career, the world did not yet know that Reeves was a bad actor, and the same pseudo-sophisticated mannerisms that would earn him well-deserved jeers for his portrayal of Jonathan Harker in Dracula play here as a campy stylistic choice. Since his lean torso and boyish sensuality suit the character physically, his weak-jawed, ersatz Prince Hal somehow fits into the entire subplot’s unreal design. It’s a case of a director turning an actor’s weakness into the film’s strength. William Richert is fine as Bob, the Falstaff substitute. Regular readers will want to keep their eyes open for weirdo favorites (in a rare seductive role) and (in a more substantial and stranger part).

Mild surrealist touches (the hustlers carrying on a conversation from the covers of male jerk mags) jostle with gritty street realities and scenes lifted almost wholesale from “Henry” to form a concoction that is occasionally interesting and touching, but which also feels cobbled together and frustratingly inconclusive. Idaho does, however, unquestionably tilt toward the weird end of the spectrum. The Criterion Collection upgraded this catalog title to Blu-ray in October, 2015.

WHAT THE CRITICS SAY:

“…cracked and beautiful… a strange duck of a film, beyond comparison: street-boy angst intermingled with Shakespearean conceit.“–Stephen Hunter, Baltimore Sun (contemporaneous)

214. DER SAMURAI (2014)

“…there seems to be some sort of secret anarchic urge within me to see the monsters set loose and rampantly reclaim what’s theirs, to witness them bringing back some wonder and excitement into a world so controlled by order and reason that it at times threatens to suffocate all sense of joy and opportunity.”–Till Kleinert

DIRECTED BY: Till Kleinert

FEATURING: Michel Diercks

PLOT: Young policeman Jakob deals with a wolf menacing his rural east German village by placing bags of butcher scraps in the woods, hoping to lure the predator away from inhabited areas. One night he receives a mysterious package which he is instructed to deliver to an abandoned house; inside the home is a man in a dress who unwraps the package to reveal a samurai’s katana. The transvestite then runs into the night, where he embarks on a campaign of murder and mayhem to which Jakob must put an end.

Still from Der Samurai (2014)

BACKGROUND:

  • Der Samurai is Till Kleinert’s directorial debut, and his graduation project for the German Film and Television Academy.
  • The film was denied a government funding grant because it was deemed “incompatible with the taste guidelines of German public television.” Much of the budget was instead raised through a crowdfunding campaign.

INDELIBLE IMAGE: When your movie stars a blond-haired samurai in a floor length backless white party dress, you have a good idea what the indelible image is going to be.

THREE WEIRD THINGS: Transvestite samurai; flamingo punch; explosive decapitation

WHAT MAKES IT WEIRD: Exploring the weirdness in queerness, Der Samurai is a primal confrontation with the Other, embodied in the person of a wolf man come to life as a dress-wearing, sword-wielding maniac who taunts a repressed country policeman into a confrontation with his own desires.


Original trailer for Der Samurai

COMMENTS: Jakob’s long duel with a mysterious cross-dressing Continue reading 214. DER SAMURAI (2014)

BEAUTIFUL FILMS: JOHN HUSTON’S REFLECTIONS IN A GOLDEN EYE (1967)

In hindsight, Reflections In A Golden Eye (1967) might mark a type of penance for director John Huston. It certainly represents a shift in his cinematic oeuvre. Huston, of legendary macho fame, had cemented his reputation with virile opuses: Treasure of the Sierre Madre (1948), The Red Badge of Courage (1951), African Queen (1951), Moby Dick (1956), Roots of Heaven (1958), and The Bible (1966). Yet, Huston also was occasionally drawn to sensitive or eccentric material. Both The Asphalt Jungle (1950) and Beat the Devil (1953) became cult hits. Huston went from working with  in Barbarian and the Geisha ( 1958) to Arthur Miller, Marilyn Monroe, and Montgomery Clift in The Misfits (1961).

Having worked well with Clift in The Misfits, Huston cast the actor in the title role of his dream project: Freud (1962). Unfortunately, that production  was plagued by a pedestrian script and the tension that resulted when Huston walked in on Clift bedding a male reporter. It proved the wrong film for Huston to vent his homophobia.

Huston aggressively acted out his homosexual repulsion on Clift throughout the production, and the hypersensitive actor responded with a professional and nervous breakdown. A post-production lawsuit rendered Clift uninsurable for four years.

Clift’s friend and one-time co-star Elizabeth Taylor came to his rescue again (she had literally saved his life in a car accident during the making of 1957’s Raintree County), ensuring him for the part of Major Weldon Penderton in Reflections in a Golden Eye. Tragically, the insurance company and Huston demanded Clift do another film first to prove his capability. The result was the wretched The Defector (1966). Clift, already in extremely fragile state, would not accept a stunt double and put himself through rigorous physical demands, which literally contributed to his death shortly after filming.

On the surface, the self-loathing latent homosexual Maj. Weldon would seem to have been ideally suited for Clift. However, both Freud and The Defector reveal a glassy-eyed actor literally on the verge of self-implosion.

In the wake of Clift’s premature death, Huston cast the actor’s one-time rival method actor, , in the deceased’s intended role. Brando, who has rightly been called one of the greatest actors in cinema, delivers a very strong performance, as does Taylor and Brian Keith.

Reflections In A Golden Eye is based on Carson McCullers’ popular 1941 novel and familiarity with the literary source undoubtedly makes the film more accessible.

Still from Reflections in a Golden Eye (1967)Huston’s direction of Reflections is Flannery O’Connor-like: impressionistic language combined with objective, clear-eyed view of darker themes and people within an exquisitely austere Continue reading BEAUTIFUL FILMS: JOHN HUSTON’S REFLECTIONS IN A GOLDEN EYE (1967)

366 UNDERGROUND: THE GAYS (2014)

DIRECTED BY: T. S. Slaughter

FEATURING: Chris Tanner, Frank Holliday, Mike Russnak, Flip Jorgensen, Matthew Benjamin

PLOT: The wacky adventures of the Gay Family, matriarch Bob Gay-Paris and patriarch Rod Gay, who raise their gay sons, Alex and Tommy, and teach them valuable lessons in empowerment.

Still from The Gays (2104)

COMMENTS: The Gays is T.S. (Skull and Bones) Slaughter’s twisted take on the family sitcom, where everyone learns a lesson along the way. It also spoofs the Conservative Nightmare about The Gay Agenda: what would happen if gay parents educated their offspring about being gay?

It’s intentionally over the top, in ‘ style, so conventional viewers should find a couple of things to be scandalized by.  Aided by the performances of the two leads, Chris Tanner and Frank Holliday, most of the intended audience for the film should find it empowering and hilarious, and in that aspect, there’s much to recommend.

Objectively, some might find most of the humor a bit one-note to sustain a feature, and some of the other performances aren’t up to the level of Tanner and Holliday, but I think that most of the people who’ll like this film will be more than willing to overlook the lack of Hollywood polish.

The Gays is now available on DVD and streaming video; visit The Gays official site for ordering information.

Still from The Gays (2014)

 

JAMES WHALE’S THE BRIDE OF FRANKENSTEIN (1935) ON BLU-RAY

“With a few exceptions, The Bride of Frankenstein represented the last gasp of the horror film as a serious genre,” claimed Andrew Sarris. The late critic had a point. By now, Whale’s blackened horror comedy sequel to Frankenstein (1931) has become so legendary, it is almost too easy to forget how much Bride of Frankenstein (1935) is a standalone film, possessing a texture unlike anything before or since. Genre classifications be damned.

Director  had vehemently and repeatedly refused Universal Studio’s pleas for a sequel to his runaway 1931 hit, but when they promised him carte blanche, his enthusiasm was inspired.  Whale set to work on a high camp satire, playing havoc with Western family values.  Our contemporary idea of a Gothic celluloid baseball bat taken to the bourgeoisie might be Barry Sonnenfeld’s Addams Family Values (1993). Compared to Whale’s authentic island of misfits, the creepy, kooky klan are comparatively status quo.

It may be tempting to dismiss the endless essays addressing the film’s homosexual themes as wishful revisionist hindsight, but the head-in-sand  types are as clueless as yesterday’s batch of “Liberace is gay?”naysaying muggles. Yes, James Whale was gay; shockingly, openly gay for the 1930s. The queered eye of Bride‘s hurricane blows in the form of Ernest Thesiger’s Dr. Pretorius, extending his role of Horace Femm from Whale’s The Old Dark House (1932). Accompanied by his horticultural box of little people, Pretorius endorses necrophilia, snubs his beautifully bitchy nose at homophobic mores, and constructs a deco bride for a simpleton bisexual monster, gesticulating with all the subtlety of a high-dive belly buster.

Still from Bride of Frankenstein (1935)Although Thesiger practically walks away with thespian honors, Boris Karloff excels in his greatest performance. Karloff initially objected to the monster’s dialogue, which is understandable in light of his mastery of silent pantomime that rivaled both Chaplin and Chaney. However, Continue reading JAMES WHALE’S THE BRIDE OF FRANKENSTEIN (1935) ON BLU-RAY

I AM DIVINE (2013)

DIRECTED BY: Jeffrey Schwarz

FEATURING: (archival footage), , Frances Milstead

PLOT: This documentary chronicles the life of Glenn Milstead, from a chunky effeminate nerd who got beat up at school to the iconic, outrageous and obscene 300 pound drag queen Divine, the main attraction in John Waters’ transgressive early comedies.

Still from I Am Divine
WHY IT WON’T MAKE THE LIST: As a straightforward documentary on a strange guy who just happened to star in some pretty weird movies, it’s purely supplemental material.

COMMENTS: One of the biggest questions raised by I Am Divine is, do you refer to Divine as “he” or “she”? John Waters, the foremost living authority on the subject, always refers to Divine as “he,” probably because when he thinks of Divine he thinks of Glenn Milstead. Other interviewees are inconsistent, swerving between gender pronouns. Divine, the foul-mouthed three-hundred pound harridan in clown makeup, is clearly a she, while the performer who portrays the character is clearly a he. There isn’t much conflict in this haigiographic documentary that means to celebrate Divine’s life and legacy, but to the extent that there is, one of the two key tensions is the one between she and he, between Divine and Glen. Divine swallowed Glen, and he was unable to escape her mighty maw and forge the independent career as a male character actor that he desired. (The other important conflict, which occurs more on the surface level, is between Glen and his parents, who initially reject him as a freak, then touchingly reconcile late in life).

I Am Divine does a fine job of shrinking this giant career down to a ninety minute snapshot. It’s thorough (even fitting in Divine’s brief stint as a disco diva) while remaining fast-paced and succinct. The John Waters years are covered in detail, and some may appreciate the clips of rarely seen pre-Pink Flamingos films like 1968’s Eat Your Makeup (with Divine as Jackie in an incredibly tasteless recreation of the Kennedy assassination). Although little is revealed here that will shock Divine’s hardcore followers, there are a few surprise tidbits for casual fans: salacious stories suggesting that Milstead’s appetites for sex and pot may have rivaled his love of doughnuts, and scenes from his live show that demonstrate his talent for Don Rickles-styled improvisational insult comicry. Milstead was large enough to have his own gravitational pull (his image even dwarfed a character like John Waters) and some of the movie’s most revealing insights involve Divine’s satellites. Belated credit is given to Van Smith for creating the arch makeup that defined Divine, and the curious will learn the sad answer to the question, “whatever happened to Dreamlander stalwart David Lochary?”

Divine is inspirational to gays for obvious reasons, but the character’s appeal crosses the sexual orientation line. Divine is appealing because she represents the triumph of the misfit, the ugly, the loser. As Waters points out, Divine takes everything that people laughed at Glen Milstead for—his effeminacy, his weight—and “exaggerated it and turned it into a style.” Divine proves that “undesirable” traits can be turned into assets when they’re embraced rather than hidden away, which is a powerful solace to anyone who feels like an outsider forced to pretend to be normal.

I Am Divine was a Kickstarter success story, raising over $50,000 (of a requested $40K) for post-production and licensing costs. Hundreds of names of fans who paid $10 or more for the privilege appear in the seemingly endless credits. Given that the film was made explicitly “BY and FOR” Divine fans, nothing appears here that is too penetrating or negative. The reverential interviews and clips meet, but don’t exceed, your expectations for a documentary about Divine. Still, true priests and priestesses in Divine’s peculiar cult of trash camp will eat this movie up like Divine eats… well, you know.

WHAT THE CRITICS SAY:

“…shows how the future John Waters muse transformed from an isolated, weird kid into an over-the-top, proudly freakish star… a striking tribute to the pioneering spirit, radical queerness and sheer divinity of Divine.”–Ethan LaCroix, Time Out New York (contemporaneous)

CAPSULE: MYSTERIOUS SKIN (2004)

Must See

DIRECTED BY:

FEATURING: , Brady Corbet, Michelle Trachtenberg, Jeffrey Licon, Elizabeth Shue, Mary-Lynn Rajskub, Bill Sage, Chase Ellison, George Webster

PLOT: Brian, who is missing memories from part of his childhood, believes that he was abducted by aliens; his investigations lead him to Neal, a street hustler who may have had a similar experience.

Still from Mysterious Skin (2004)
WHY IT WON’T MAKE THE LIST: This searing and graphic drama about two damaged boys and their opposite approaches to dealing with trauma is Gregg Araki’s masterpiece, his best movie by a wide margin. Ironically, however, it’s also his least weird film, with only a few dreamlike moments thrown in to relieve the harsh reality.

COMMENTS: Alternating stories in the lives of two former Little League teammates, one now a teenage hustler and the other a UFO-abduction fanatic, Mysterious Skin plays something like Midnight Cowboy with a touch of “The X-Files.” The performances of both young leads are astounding, and it’s actually a little unfortunate that Brady Corbet’s turn as nerdy, asexual Brian is overshadowed by Joseph Gordon-Levitt’s (literally) sexier performance as a prematurely dissipated teenage prostitute. Gordon-Levitt’s role interacting with the various johns, from lonely middle-aged businessmen to touchingly pathetic AIDS sufferers to the inevitable angry sadist, is simply meatier than Corbet’s, who only spars sexually with a frumpy fellow alien-abduction enthusiast. Gordon-Levitt, in his first major part after concluding his run as an alien inhabiting the body of a precocious kid in the sitcom “Third Rock from the Sun,” announces himself here as one of the great upcoming actors of his generation in his dark performance as a cocky boy-stud who isn’t nearly as in control of his life as he believes himself to be. Each kid has a very different character arc, but they have more in common than it seems. The story’s big “secret” will probably become obvious very quickly, but the drama doesn’t come in the mystery of the big reveal. This is more of a dual character study depicting opposite but equally dysfunctional strategies for dealing with the unthinkable. It’s difficult to watch at times, but it’s played with exceptional compassion and insight that steers well away from survivor clichés—the hustler’s story, in particular, reveals a disturbing but credibly sick psychology. Scenes with cornfed Kansas grotesques finding mutilated cattle with their genitals removed make the Midwest look a little Lynchian; but, other than a misty shot of a Fruit Loop shower and hallucinatory glimpses of an actual UFO, Akari makes very few departures from raw reality here. The supporting performances are all excellent, as is the unobtrusive shoegaze score. This is filmmaking at its most humanistic.

Araki wrote the Mysterious Skin screenplay from Scott Heim’s novel. According to a Heim interview included on the Blu-Ray edition, the director consulted the original author on the adaptation, although Heim decided to get out of the way and not meddle unless asked after the contract was signed. Heim was then invited to tour with the cast and crew as they took the film on the festival circuit. The dynamic between the original author and the adapter here appears to be a model working relationship.

WHAT THE CRITICS SAY:

“The film has a weird buoyancy…”–Stephanie Zacharek, Salon.com

(This movie was nominated for review by “Tori.” Suggest a weird movie of your own here.)