Do Gay People in Films Always Have to be Stereotypes?

Originally published on www.biggaypictureshow.com

In the past I’ve written about a number issues I have when it comes to gay men in films and films that are gay-centric in particular. One of these issues is that they are usually sold on sex, making us all fit into the sexual deviant paradigm that so many people have afforded us, the other issue I’ve written about is why we have to have gay films – after all why can’t they just be films.

This being said, ‘gay films’ are here and for the foreseeable future they are here to stay, because let’s face it, many Hollywood studios are still reluctant to release a mainstream gay-centric film, despite the success of Brokeback mountain almost a decade ago. This then brings up the issue that most of the gay men that we see in films are the flappy, fashion conscience, witty, bitchy character whose retorts and comments are used for comic affect.

These characters can be found in many rom-coms, such as Bridget Jones’ Diary, as well as teen flicks like Mean Girls. We are undoubtedly being put into more films now and being allowed to be openly gay – and all exposure is good exposure in a way, I suppose. Even if the studios are still a little worried to make us the leading star, at least we are there.

However, I can’t get over the fact that many gay-centric films made by LGBT production companies and filmmakers have to use these characters as well. I’ve reviewed and watched a few films recently that heavily feature characters like this. Yes, there are gay people like this, but would it hurt the filmmakers and studios to feature more down-to-earth, non-stereotyped gay characters in a gay movie? After all, we’re bombarded with these stock characters in nearly every romantic comedy that gets churned out.

It looks as though whilst we are getting some representation in mainstream movies, the issue of being stereotyped will always be there. It’s just a shame that gay centric comedy films and rom-coms don’t display enough diversity, to show other gay men and people in Hollywood that we aren’t all like that stock character they know so well. Perhaps if the entertainment made for the gay community were more varied in its depiction of gay people, a little more of that diversity would seep through into the mainstream.

Review: Keep the Lights On

Originally published on www.biggaypictureshow.com

Keep the Lights On tells the story of a Danish filmmaker, Erik (Thure Lindhardt), who’s working on a new documentary and living in New York City. He enters a loving yet complicated relationship with Paul (Zachary Booth), a struggling drug and sex addict. The film takes a rare and honest look at the complications that impact on most relationships and the negative effects addiction can cause for yourself and a partner, all put together in a way that makes you not think of this as a ‘gay film’.

The film itself is based on the director Ira Sach’s own relationship with literary agent Billy Clegg, who has published a memoir discussing his own past struggles with addiction. Luring you in with a great concept, I got excited by the idea of this film and was very intrigued about how it would tackle the sex addiction aspect, as most gay themed films just tend to focus on muscly model-esque men having sex and getting naked at every given opportunity.

However this film completely avoids that and the sex scenes are both relevant to what’s happening and actually drive the plot along, and in one case shows us that sex isn’t exactly how it looks in porn or Hollywood. So a big thumbs up has to be given to them for not falling into the littered realm of cliché and mind numbing sex scenes.

The way the film is shot is also very good, as it has an almost vintage, gritty realist look to it, and for an independent film I was pleasantly surprised that it didn’t look like someone had just filmed something in their back garden with a home video camera, which is often the case. In fact the film as a whole looks like Transamerica in terms of the way it was shot. The music used, when coupled with the imagery, is excellent as it really helps set the scenes and allows you to know if you’re in for a heavy moment or not.

This being said, I wasn’t completely satisfied when it came to watching this film. What Keep The Lights On lacks is perhaps the most important part – the ability to get the viewer engrossed and concerned about what they are watching. As the film progressed I realised that I had little concern for the characters, which mainly stemmed from the slow moving plot.

Also I felt that if someone watched this film who hadn’t read up on it beforehand and knew what it was about, then this slow burning plot would definitely confuse them and leave them wondering what the hell was going on. However, despite not feeling for the characters, the two lead actors give quite gritty and realistic performances as lovers, so hats off to that.

Keep The Lights On has so much going for it in its premise and the music, and acting and shooting is all great. However, the slow developing plot that makes you lose interest allows the film to fall flat. They could have done so much more with this film, but they just missed the mark. But credit to them for not turning it into a gay sex and sausagefest.

Review: The Men Next Door

Originally published on www.biggaypictureshow.com

Luring you in with a concept that has only really been seen in soaps and mainly carried out as heterosexual storylines, The Men Next Door makes you feel as though you’re about to see something a little different in terms of gay cinema. However once the film begins it’s rather disappointing to find that it’s just another mound of clichés, stereotypes and unfunny comedy.

After initially reading the plot synopsis I thought I’d be in for a rather funny and not too serious treat – after all seeing a film about a man falling in love with both a father and his son isn’t something you see every day. I was expecting a few laugh out loud moments with a sweet sentiment underneath. However, within the first 15 minutes of the film I saw two cocks and two or three sex scenes, once again reinforcing the fact that the majority of gay cinema is sold on sex.

Aside from this much of the ‘comedy’ within the film was not funny, tried a little too hard and on the whole was a little bit predictable. Also the sweet sentiment that ran throughout the film failed to make you go “awww”, instead it made you want to reach for the nearest sick bucket.

That said there are a few funny moments that did make me laugh, such as the awkward moment when the truth about the father and son comes is revealed. There’s also an entertaining situation in a getaway cabin later on the in film, which gets ruined by afamily therapy session that ensues. I did enjoy the way in which the more amusing parts of the film were told during conversations between Doug (Eric Dean) and his brother, and in all fairness you do wonder whether he will choose the father or son in the end. But as the film nears its conclusion, it gets extremely mundane and yawn inducing.

The way the film is shot is extremely low budget and it shows, which makes you feel as though you’re watching something a film student made on their lunch break. Adding to the pain I felt watching this is that the majority of the acting is wooden, beside Benjamin Lutz, who plays the son of the story, Colton, but even he annoys you after a while.

The character of Evelyn (Heidi Rhodes) does amuse at times, but she too becomes a little annoying as you realise she’s just another stereotype of how some gay people see their straight friends who have settled down with children.

Overall Verdict: This film could have done so much with the premise, but instead it’s badly written, badly shot and badly acted. Where it could have invested in good comedy and a more heartfelt sentiment, the makers settled for lacklustre comedy, stereotypes and a couple of helpings of sex in order to make people watch it.