Homosexuality in cinema too often falls into one of two
categories: a problem that forces people to hide in the closet, or a comedy
act. What’s needed in the battle for equality are more positive
representations. Slowly, this is changing and Love Is Strange is the latest film to alter perceptions.
The focus is an older gay couple in New York City, played by
Alfred Molina and John Lithgow. What’s so refreshing about the film is that
homosexuality is grounded, relaxed and normal. The film opens with a wedding, introducing
us to their extensive and loving family. Every generation is accepting, though
that’s not to say prejudice isn’t an issue. George (Molina) loses his job as a music
teacher at the local Catholic school – unable to pay the bills, the couple are
forced from their home. It’s clear that his marriage and sexuality, rather than
his age or teaching ability, are seen as the problem. Later, though, when
visiting a housing officer George meekly notes “we’re married” and she barely
bats an eyelid. Love Is Strange offers
a mostly positive depiction of gay life, which may seem idealistic, but for
once this is a gay couple without a chip on their shoulder, placing emphasis
instead on their domestic situation.
Now homeless, George and Ben must live separately with their
respective families, the film exploring the impact on their nearest and
dearest. There is great chemistry between Molina and Lithgow with the camerawork
of Ira Sachs lingering on each fleeting moment, so the narrative falters by
forcing them apart for much of the film. Together, they provide the film with
its strongest imagery. One scene sees George arriving at Ben’s flat having
crossed Manhattan in the rain; as he erupts in floods of tears at their
separation, it’s a genuinely touching moment.
The rest of the film focuses on the tension between family
members. Ben doesn’t want to impose on his family, but unwittingly upsets the
already tense relationships between his nephew Elliot (Darren Burrows), Elliot's wife Kate (Marisa Tomei), and their troubled son Joey (Charlie Tahan).
Paralleling this, George lives with former neighbours – a younger gay couple
constantly hosting parties, only highlighting the age gap. The film is a
delicate depiction of urban living: warm, soft focus mise en scene undermined
by underlying issues of privacy and awkwardness.
The problem is that the peripheral characters succumb to cliché,
despite great performances. Kate struggles to writer her novel with Ben’s
constant disruptions; Elliot is forever out working; the misunderstood Joey is estranged
from his parents, spending more and more time with his (seemingly) influential
friend Vlad (Eric Tabach). The script draws Ben and George with plenty of cliché
too (an older gay couple interested in art and classical music – who would’ve thought?),
but Molina and Lithgow’s sensitive performances transcend such triteness. And
in the film’s final, devastating moments, it’s Joey who provides an emotional
release in a scene stealing turn from Tahan.
The plot is a little slow-paced, but ultimately Love Is Strange is a tender and heart-warming
family drama, with a rare instance of a credible gay couple at its core. It’s a
step in the right direction for queer cinema.
4/5
Watch: Love Is Strange
is released on 6th February.
