A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

Sunday, December 23, 2018

God's Own Country (Francis Lee, 2017)

Alec Secareanu and Josh O'Connor in God's Own Country
Johnny Saxby: Josh O'Connor
Gheorghe Ionescu: Alec Secareanu
Deirdre Saxby: Gemma Jones
Martin Saxby: Ian Hart

Director: Francis Lee
Screenplay: Francis Lee
Cinematography: Joshua James Richards
Production design: Stéphane Collonge
Film editing: Chris Wyatt
Music: Dustin O'Halloran, Adam Wiltzie

Inevitably called "a Yorkshire Brokeback Mountain," Francis Lee's debut feature, God's Own Country has a forthrightness about gay sex that Ang Lee's more celebrated 2005 film lacked, and which, I recently noted, is also missing from the more popular Call Me by Your Name (Luca Guadagnino, 2017). There's no shyness about the mechanics of sex or about frontal male nudity -- one scene, of Johnny and Gheorghe talking together, plays out with both actors casually showing their privates. To my mind, this acceptance of the body defuses the sensationalism that "discreet" treatments, like the pan to the window in Call Me by Your Name, actually tend to heighten. It also brings the outsider status of the two men more clearly into focus -- if we can observe and accept  the fact of their relationship, then why can't others? God's Own Country is otherwise a familiar -- slightly over-familiar -- story of the course of a love affair: meeting, attraction, consummation, discord, separation, resolution. Johnny is a surly lout in a bleak, unloving milieu until Gheorghe comes into his life and teaches him tenderness and self-respect. It's enough to make us want to see the other side of the story: What about Gheorghe's life in post-Ceausescu Romania made him a stronger and better person than Johnny? That said, it's a well-made film, with superlative performances from Josh O'Connor and Alec Secareanu, and beautiful support from old pros Gemma Jones and Ian Hart as Johnny's worn and weary but always crabby parents.
Posted by at
Links: , , , , , , , , , ,

No comments:

Post a Comment

Subscribe to: Post Comments (Atom)