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Archive for the ‘Women characters’ Category

murder_by_numbers

Reasons:
☻ Will watch anything with Michael Pitt in it (Justin)
☻ Directed by Barbet Schroeder, who lived in Venice, California for a while. It has nothing to do with this film, but predisposes me to like his work

In a high school class, spoiled rich kid Richard (Ryan Gosling) heckles dweeby rich kid Justin, but they are secretly friends who hang out together and have a weird relationship. For instance, Richard pretends to be an attacker, etc. Justin says, “Freedom is crime because it thinks first of itself and not the group.”

The girl Lisa tells him, “You really need to get laid, Bonaparte.” It is explained why she calls him that, but I forget. She likes Justin and wants him to help her study, because he’s a genius. But she shuns Richard, and he spies on them together.

Justin and Richard hang out in this great abandoned house at the edge of a cliff, where they burn candles, drink absinthe, smoke cannabis, and plan the perfect murder, which Richard is very eager to get busy and commit. It involves killing a random person and blaming it on the school janitor. It is hard to buy into the fact that high school kids would do anything to take their pot supplier out of business. And later, the cops say there was a “significant stash of marijuana buds” at the janitor’s place – yeah, that proves he’s a killer, all right.

(Just by the way, IMBD notes that this opus has 172 plot keywords. Marijuana is among them, also absinthe. But “drinking”? No. But “alcohol”? No.)

Cassie Mayweather (Sandra Bullock) is the tough cop who rocks black leather and demonstrates her efficiency by talking so fast you can’t understand her. She arrives with a “very important crime scene tool,” a box of doughnuts to pass out to the other cops. Her subordinate is a man, who moved over from the vice squad. She calls him “Vice.”

Mayweather goes to see the corpse of girl beautifully posed like a Disney heroine. Of course it gets ugly fast. Then there’s a microscopic camera travel along her skin, seeing the fibers that the boys took from the janitor’s house and carefully placed on the dead female. At her house where she was killed, a broken clock says 9:27. It’s the perfect clue.

Detective Sandra Bullock lives in a houseboat. She seduces a male cop who is below her in rank. She pushes him down, sits next to him, and extends her arm along the back of the couch – the stereotypical male move. It’s a corny way to indicate she’s after him, but a movie needs shorthand. In real life, the chase might last days or weeks, stretched out over time and more subtle. But this is a movie, so you have to show it blatantly.

In another scene she tries again to seduce him – it’s bigtime sexual harrassment – but fails and they have a fight. Again, in real life, this disillusioning process would take days, weeks or months but this is a movie. So far, there are two sexually bold women in this story. Also, proof that a woman can have her asshole moments too, just like a man. Ain’t equality wonderful?

She opens a “notice of hearing” from the parole board, wanting her to testify in regard to a Carl Hudson. At work, the boss tells her, “You’re supposed to be identifying with the killer, not the victim. Remember that.” Words of wisdom for cops everywhere!

At her houseboat home, she has pictures from one case spread all over her table, but then gets out the file from the old, troubling case, and starts shuffling through it and looking at pictures from that – IMHO, creating the likelihood of mixing up the evidence from the two cases, misfiling, etc., certainly not a Best Practice. If she’s supposed to be such a hotshot, this doesn’t prove it. On the other hand, when she steals trash from outside the home of one of the boys, she’s so competent she takes along a fake trash bag to replace it, just in case anyone notices.

She has dinner with the cop she seduced. Just like hippies and teenage serial killers, the cops also like to imbibe psychoactive substances in an atmosphere of candlelight.

Justin vomited near where the boys left the body of the woman they killed, and Richard gets mad at him. But Richard left footprints!

Richard videotapes himself screwing Lisa and shows it to Justin, who confronts Lisa. Richard wants to prove to Justin what a slut she is, and that he’s better off without her. Justin is not grateful for the revelation. Earlier, one of them had created a composite portrait of them blended into one person. To show that he is symbolically separating himself, Justin takes the picture back apart, then blanks the Richard one.

In this film, Gosling mainly plays a kid who is acting – first in the sick games with Justin, then the scene in the bleachers where the cops question him is brilliant. He does sincere so well. He’s an actor playing a kid who is acting, but with an insolent edge that dares the cop to prove that he’s acting. Part of the game is to taunt the cops and let them know he’s bullshitting, but he dares them to prove it because he knows they can’t. He wants the cops to doubt his sincerity just to drive them nuts, because he has an airtight alibi.

The janitor supposedly commits suicide.

I slept through a lot of this and didn’t see the end. Mayweather the cop ends up in the hospital but won’t stay, and shows how tough she is by ripping out her IV line. She knows the boys did the murder, and gets in trouble for cowboying the investigation.

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David Carradine and Barbara Hershey in Boxcar Bertha

David Carradine and Barbara Hershey in Boxcar Bertha

No disrespect to Richard Linklater’s film Boyhood, whose filming stretched over many years as the boy grew up. But when some Slate people said it’s “completely unique” and “Nobody else would undertake this project,” I was like, “Just a minute, please.”

David Carradine wrote and directed a movie about Mata Hari, starring his daughter Calista Carradine. It was meant to follow from her teen years to age 41, when the famous spy was executed by a firing squad. The first installment was filmed in 1977, with a couple weeks more of shooting added every year or so, as money was available. Some scenes were shot in Europe and India. It was a monumental passion project, and David Carradine talked about it in his book Endless Highway.

Various journalists have said it was meant to span 30 years. Somebody else reported that it would cover Mata Hari’s life from 15 to 30, and would thus be a 15-year project. There seems to have been confusion. In a 1981 interview, D. Carradine mentioned that even though the subject had been dead for more than 60 years, new facts about her life were still being discovered. He said, “It may be three movies.”

Just before that he said, “The film will probably not exist at a single level or reality.” Which it makes sense to interpret as, it’s a mystery AND a biography AND a war story, or some similar trio of genres. But another writer took that literally and spoke as if the work would actually be three separate movies, and someone else called it a trilogy. And there’s a Carradine quotation about being almost done with the first film, with maybe one more scene to do.

Movie star crush

I fondly remember the TV series Kung Fu, and I’m sure David Carradine’s character Kwai Chang Caine had something to do with the formation of my preferences in men. Later on when the movie Boxcar Bertha came out, it was my favorite for a long time. The picture on this page is from a Playboy photo session commemorating the movie, extra hot because Carradine and Barbara Hershey were deep in love in real life.

What follows is from a 1979 chapter of my book Call Someplace Paradise:

On the way to work night shift, at the Lincoln Boulevard onramp to the Santa Monica Freeway, I saw a family group looking for a ride. They were headed for Hollywood but decided Westwood would do just as well. My front door on the passenger side is still crunched in so they piled in the back with a guitar case and backpack and various other paraphernalia. The man was Bill Sunshine, a filmmaker who documents births, mostly home births, for people who want to relive the moment on video. This is what people get now instead of bronzed baby shoes.

He introduced his wife as Calista Carradine, who plays Mata Hari in her father’s film, which they have been working on since she was a child. The concept is to have the same actress fill all the different age roles by the simple method of shooting the film as she grows up. I read about David Carradine’s ambitious project a couple weeks ago, and said so. Bill Sunshine talked some about the movie and, since I work at the hospital, a little about the advancing age and medical problems of John Carradine. The couple have been married for six weeks and are reduced to hitchhiking because of a drunk driving incident during their honeymoon. The boy, about 9, was introduced as Jason Sunshine. The guitar case contained picnic supplies. They’d spent the day at the beach.

A few months later I was at a screening that David Carradine attended. Though I had watched Kung Fu religiously, I figured half the world probably told him that. So I told him I’d picked up his daughter hitchhiking. In another of his books, The Kill Bill Diary, a page says…

…a promo reel for Mata Hari which I made to show at Cannes in 1980, made up of scenes from the first three years, ’77. ’78 and ’79, starring my daughter, from fourteen years old in India to her execution at the age of seventeen in a forest in Holland….

How did that get published? Mata Hari wasn’t executed at 17. WTF? Anyway, at the international film festival, D. Carradine was given a special award for writing the score of the fragmentary film. Over time, Mata Hari grew its own legend. A lot of people heard of it, few saw any of it. There were disturbing rumors and reports, a mild example being someone’s comment about watching D. Carradine directing a scene where his daughter and a male actor were naked and going at it.

The film was included in a couple of “greatest movies never made” webpages. One of them said the action spanned 20 years, and noted that it was supposed to have been released in the summer of 1998. The reviewer called it “an incredible concept that would have made a groundbreaking film that would have served as a fine legacy to Carradine.” It must have been money that stood in the way of completing and releasing the movie, because the filmmaker lived until 2009. According to IMBD, Mata Hari now seems to be one movie, scheduled for release in December of 2014.

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A woman's faceThe Little Foxes

 

 

 

 

 

 

 

 

 

 

In A Woman’s Face and The Little Foxes we meet two of cinema’s baddest bad girls: Anna Holm (Joan Crawford) and Regina (Bette Davis.) First, how did they get to be so bad?

Anna was physically scarred in childhood by a fire. Subjected to rudeness and mockery by pitiless smooth-faced people, she decided at age sixteen that if the world was going to be against her, she would be against the world. Consequently Anna embarked on a career of blackmail and presumably other criminal activity as well. Even as an adult, when we are introduced to this woman, she is still mocked by her cohorts on account of her disfigured face and abrasive personality. We understand that her character has been formed by her face, that beneath the scars there is another potential Anna. The cause of her problems is physical and amenable to correction.

Regina’s personality has been formed by different forces. Although quite presentable in appearance and possessing social status, she became embittered about being passed over in her father’s will which divided the estate between her two brothers. Further disappointment came with her husband, who was never sufficiently acquisitive or ruthless in business to satisfy her lust for wealth. The root causes of Regina’s personality could be called sociological. Her situation is the converse of Anna’s: Regina’s hard, aristocratic, disdainful face has been formed by her character.

Anna is influenced by sexual attraction and a certain kind of misdirected loyalty to become the pawn of Torsten Byrig, the lover who “saw the hard shining brightness of her.” He attempts to manipulate her into doing his dirty work, which she goes along with by posing as a governess and planning to kill the nephew who stands between Byrig and a fortune. Like the original causes of her personality, the cause of her willingness to murder a child is also physical (her infatuation for Byrig).

Regina is nobody’s pawn. Instead, she manipulates others. She sends her daughter to Baltimore to convince her husband to return, and attempts to coerce the same daughter into marrying her dumb cousin Leo. She rejects the girl’s young newspaperman suitor out of hand., Regina does not dissemble or pretend to be other than she is – even though her brother Ben repeatedly counsels “softness and a smile,” Regina makes no bones about the fact that she is a disciple of naked power. Her machinations are inspired only secondarily by material greed – her primary focus is hatred for the husband she perceives as weak and worthless. She tells him quite clearly, “I hope you die – I’ll be waiting for you to die” – she despises the man. The murder she commits is rather a sin of omission – she watches as he has a heart attack, spills his medication, crawls up the stairs… throughout all this, Regina sits rigid and implacable. When she’s sure Horace is dead, she makes a fuss and calls for help. Afterwards, when she finds out about the stolen bonds, her manipulations continue – if she’s not cut in for 75% she threatens to put her brothers in jail.

Anna is capable of change. Influenced by love for the boy under her care, and good feelings toward the doctor, Anna becomes a different woman. When her chance to carry out the planned murder comes, a ride in an aerocar, she is unable to proceed. When the second opportunity presents itself – the sleigh ride – she comes to a crux of decision and shoots Byrig rather than allow him to kill the boy. Another change in Anna is that somewhere along the way she has realized that sex does not equal love. Capable of change, Anna is also capable of guilt – after writing a note to the consul warning him of Byrig’s plans for murder, she planned to kill herself. But she is redeemed by love, and admits to the doctor that she just wants to be like the rest of the human race – get married, have babies, and so on.

Regina is not influenced by love for anyone. She probably thinks she loves daughter Zan and has Zan’s best interests in mind when arranging the marriage and scheming for money. She is capable of change only slightly and temporarily – crumbling near the end of the film, she shows unfamiliar weakness and asks Zan to sleep in her room for comfort – but this softness doesn’t last long. In the last shot of the film, Regina’s sinister face, mask firmly back in place, is seen at the window. She is her old self again, the self whose motives are plain. As she has told Zan, “I’m going to get you the world I always wanted.” – the world of wealth and power. She began with these priorities and she ends with them.

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The Women

Of course many of the characters are trivial, ridiculous ladies. The people who made the movie thought so too, that’s why they showed us the characters. They knew and deep in our hearts we know that there were (and are even today!) women whose interests do not extend much beyond clothes and gossip. Why should we hide from the fact? Of course the monkeys dressed up in miniature copies of high-fashion designs are silly – but no sillier than the women for whom this sort of status symbol is important

Taking this film on its own merits, without resorting to specious comparisons with some ideal of indescribable loftiness, it’s pretty darn good. After all, it’s a comedy, and comedy is exaggeration. And props, as they say, to screenwriter Anita Loos. Credit must be given to any woman who survives in a male-dominated field for umpteen years. She worked with D. W. Griffith! And of course Loos didn’t start writing this one from scratch, but adapted it from a play by Clare Booth Luce.

It was really a clever decision, to have not one single male in the whole picture. Yet, how to include the decisive argument between Mary and Stephen – a dialogue which includes every line ever spoken between husbands and wives in similar situations since the beginning of time – while preserving the artistic decision of the all-female cast? I can just imagine the author and/or screenwriters brainstorming this problem… Aha! Play the scene with the two women domestics, one reporting the argument and the other providing appropriate cynical comments – what a solution!

The dialogue between Mary and her mother is right on, and it can’t be denied that even in this age of openness and therapy for all, a person whose loved one strays is still faced with the same choices – confrontation or feigned ignorance – and making the choice still needs to be thought over carefully.

Technical comment: After a bad-news phone call from her husband, Mary reflectively fondles the bottle of Summer Rain perfume – cut to the department store counter with lots of bottles of Summer Rain perfume.

Crystal is such a baddie – treating the black woman as if slavery were still in effect, making her break a date, to cook a dinner which Crystal will pass off as her own handiwork. When Stephen breaks their date she brings in the big guns – it’s her birthday and her neuralgia is acting up and her sister is sick etc. Power plays between women in a struggle to hold a man are a phenomenon we can witness today. Those who clamor for verisimilitude have got it.

The fashion show of course is pure satire, and I bet the clothes looked ridiculous even to 1939 eyes, as overwrought as Fellini’s bishop robes in Roma. The woman who announces the styles promises models engaging in the “activities of everyday life” – like going on a picnic in big antebellum dresses.

Symbolic touch – Crystal snaps up the sexy nightgown that Mary planned to buy – as if to say, “You won’t be needing it, dearie.”

Technical comment – Sylvia the troublemaker reflected in a 4-way mirror, assaulting Mary from all sides with her wicked advice. What she’s saying is the most awful thing of all. Stephen has introduced the interloper to Mary’s child, they were seen having lunch in the park. When kids are dragged into an affair, mothers freak out. This is a psychological truth which there is no sense in denying. Now totally off her head, Mary rushes to the confrontation her friends are urging. Naturally Crystal is as slimy and mean as Cruella deVille.

What about the extreme demonstrativeness of Mary’s relationships with her daughter and mother? They’re forever embracing and petting and putting heads in laps. Veterans of group therapy of course are unfazed to view this, but I’m curious to know how 1939 eyes looked at the very physical style of relating in this affectionate family. Why did the director choose it? Was this sort of thing more common back then? Or is the demonstrativeness a conventional exaggeration meant to portray Familial Love, in the same way that Crystal’s gimlet eyes portray Bitchiness?

In Joan Fontaine’s autobiography No Bed of Roses she describes the making of The Women. The story of how Rosalind Russell played sick to coerce the management into giving her equal billing with Shearer and Crawford, also found in Russell’s book, is recounted here. Fontaine says working with George Cukor was a refreshingly pleasant experience.

Directed by: George Cukor
Actors: Joan Crawford, Joan Fontaine, Paulette Goddard, Hedda Hopper, Rosalind Russell, Norma Shearer

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Lars and the Real Girl accomplishes the seemingly contradictory goals of being not only cozy, homey and heartwarming, but deeply weird.

Ryan Gosling plays a very shy young man who lives in the garage of the old family homestead, now occupied by his brother and sister-in-law. He doesn’t want to live in the house, and doesn’t want to interact with people. He sends away for one of those super-deluxe imitation women, and introduces her as Bianca, his girlfriend who is in a wheelchair and doesn’t speak English.

The local doctor advises letting him live out the delusion. “Bianca’s in town for a reason,” she sagely advises. So the family, and then pretty much everybody, goes along with it.

Older brother Gus is a great character, who observes all the manly decorum, reserve, and dignitas, yet lets his heart have the final say. Karen is the lovely warm pregnant wife who does her best for Lars and Bianca. As the townsfolk adapt, Bianca gets a job, volunteers at the hospital, and becomes a real member of the community.

Meanwhile, the doctor helps Lars work through his problems, with a happy ending for all, and that is meant in the most innocent possible way. There are some lovely moments.

Lars and the Real Girl can be taken two ways: superficially, as a delightful entertainment; and meaningfully, as a commentary on many aspects of society as we know it. This would be an interesting date movie. The conversation it could inspire would certainly be indicative of the attitudes and beliefs of a new friend you’re getting to know.

It would even be a suitable movie for a family evening with the kids. Despite the fact that she’s an anatomically correct sex doll, not much is made of that, and any mild innuendo they might hear, would go over the heads of young kids anyway. Although her default posture seems to be knees-spread, Bianca is never salacious, and after her first appearance, she is customarily dressed in sensible country outfits borrowed from Karen.

I know it’s a comedy, but I can’t help taking this detail seriously – Despite living in a cold climate, and with the price of fuel what it is… these people spend an awful lot of time standing around yakking with the house door open.

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Reason watched: Andy Garcia, Ellen Burstyn, Philip Seymour Hoffman. But mostly Andy Garcia (sigh.)

Michael (Andy Garcia) is an airline pilot, Alice (Meg Ryan) works for the school system, and they have two little girls. They’re both basically very nice people. Alice is a helper, a counselor to teenagers. It’s no wonder she’s burned out and flirting with trouble. For somebody in a position of trust, she lets herself say some indiscreet things. A girl is looking for an excuse to accuse a boy of sexual harassment, and Alice sarcastically suggests that she entice the boy into trying to lift up her skirt. Definitely not cool. But she basically cares, that’s why she got into this line of work. She suffers from the frustration of realizing that some of these kids are beyond help.

When Alice stays out late drinking with a colleague, the excuse to go drinking isn’t the only reason. The friend needs to talk, and Alice wants to help. But she also causes Michael to miss a flying assignment, which is a serious mark against him. Things are starting to come apart.

Sometimes Michael is drawn into Alice’s wild spontaneity, and probably on some level convinces himself that he’s too buttoned-up and conventional, and it’s good for him to have a partner who’s a bit crazy. Their anniversary seems to bring Alice’s discontent to a crisis point. She leads Michael into helping her vandalize a neighbor’s car. This is some over-the-top behavior.

They go on vacation to de-stress. It’s night, and the most gorgeous man in the world, her very own husband, is rowing Alice around on a lake surrounded by sparkly lights. When drunk, Alice is not only bubbly and wildly cute, she can also be a real asshole. She’s standing up in the boat, taking a pugilistic stance, and of course falls in the water and of course he has to dive in and rescue her. Some romantic evening! Consequently, Alice promises to stop drinking so much. Hah.

Michael is such a cool guy. He says ALL the right things. It’s just that he doesn’t know when to stop. The part about responding beautifully when called upon, helping when help is needed and requested, he’s got that right. But he can’t stop there, and is always jumping in to help in situations where the very thing that pisses her off so much is the presumption that he knows better.

I understand Alice’s exasperation, because of an incident that happened. I was in a public place once with a supremely nice guy – very much like Michael in the movie. A stranger did something incredibly rude, behavior I had encountered in the past, and had made myself a vow never to tolerate again. And here it was. The jerk needed to be told what was what, and I was destined to be the one to tell him. If it was just me, I’d have cussed the stranger up one side and down the other.

But the nice guy asked me to let it go, so I did. We walked away. But my sense of mission was thwarted. I wanted a confrontation, wanted to be Woman Hear Me Roar. Of course, on some level, I also really didn’t want the nice guy to see me transmogrify into a raging harpy. But all this anger was still boiling around in me. I didn’t want somebody else to step in and decide what my response to a grievous provocation should be. I didn’t want to be protected by being gently led away. I understand Alice not wanting to be calmed down.

By the way, with such a horrible mother, how did Michael grow up to be so nice? That was surely a triumph of reincarnation over current-life family. If environmental influence were all, Michael would be even more of a mess than his wife Alice. And toward Alice, his mom is the classic poisonous mother-in-law. A quietly persistent bitch is worse than an occasionally flaring-up bitch any day of the week.

Michael arranges for the best alcoholic rehab money can buy. When Alice gets out, she doesn’t want to make love, and doesn’t want anything to do with him outside of bed, either. It’s not fair. That’s one of the horrible things that relatives of addicts need to face. You tried your best, and it still wasn’t enough. The unfairness can kill. He’s an enabler, but only in the most gentle, loving, best-intentioned way. He wants so badly to help, and winds up helping badly. Their troubles are not over. In fact, it gets so bad he has to move out. His good-byes to the children are heart-rending.

Michael comes to hear Alice’s six-month sober speech at AA, and they wind up snogging in the middle of the coffee break. You can tell that they will reconcile.

Loose end – But doesn’t he still have to move to Denver anyway to keep his job? So, does this imply that the family will move to Denver? It would certainly be great to get away from the toxic mother-in-law. Or are we to assume he’s going to take the other career alternative they had discussed, where he stays based in San Francisco and goes to work for a different airline, starting over at the bottom of the seniority ladder? Inquiring minds want to know.

The script was co-written by Al Franken, who had some experience with Al-Anon. He told Entertainment Weekly, ”I really began to understand about people’s pain and suffering and about how families that look normal aren’t.”

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A Home at the End of the World

I watched this because I listened to the audiobook of the novel and loved it, and when I found out there was a movie too, and that Robin Wright is in it, that really put the icing on the cake. I liked her ever since 1984 when the soap opera “Santa Barbara” started on TV.

Michael Cunningham wrote the novel and the screenplay. Cunningham is obviously an expert on the folks who practically invented the concept that, as the film’s tagline puts it, “Family can be whatever you want it to be.” This work comes from a mind saturated with Bloomsbury lore–Cunningham also wrote The Hours, a novel about Virginia Woolf that was made into a movie.

One of the central figures of Bloomsbury was the painter Duncan Grant. Apparently nobody ever said a bad word about Grant. He seems to have been universally loved by males and females alike, and the character of Bobby in A Home at the End of the World is what I imagine Duncan Grant must have been like.

When Bobby is nine, his big brother Carl gives him some windowpane, and they trip in the graveyard. Carl is a really beautiful guy, a true bodhisattva, and his relationship with his brother is probably the one he’s most present for. Of course Carl dies horribly and far too young. But rather than being messed up by that tragedy, Bobby incorporates Carl’s spirit into himself, and becomes exactly the same kind of loving and lovable person. (Carl is played by Ryan Donowho, who was in Michael Pitt’s band Pagoda, and for some reason that doesn’t surprise me.)

Bobby seems to be about 14 when he picks a friend and gets him stoned, out in the midst of lush nature, ahhhhh…..  He lends Jonathan his dead brother’s jacket, and Jonathan lends Bobby his jacket, and their bond is cemented. Jon’s mother Alice walks in on them getting stoned, and to Jon’s flabbergasted astonishment, Bobby induces her to join them. It’s a lovely scene, mother and son handing off a doobie to each other. Even more mind-boggling, Bobby slow-dances with Alice. Then they all dance. This is a dope-positive movie, and there aren’t enough of those.

Bobby pretty much joins the family. When Alice discovers that the boys are fooling around, she’s okay with it, but Jonny is uptight. Bobby is totally comfortable with the relationship. “It’s just love, man.” When somebody else is fretting about something or other, Bobby is likely to say, “This is perfect.” His best line is, and these are words to live by, “You can dance to anything.”

Now they’re grownups. Jonny (Dallas Roberts) has moved to New York. Bobby (Colin Farrell), who looks a lot like that iconic photo of David Foster Wallace, has stayed with his friend’s parents. But they plan to move to Arizona, and the father gently suggests that Bobby needs to be on his own. So he calls Jonathan, who is by now a full-fledged bisexual living in New York with an artistic wild woman named Clare (Robin Wright of course.). These are the kind of people who listen intently to Leonard Cohen’s “Suzanne,” several times in a row. The three of them form a coalition, and Bobby learns that Jon and Clare have talked about having a baby. Clare talks Bobby into losing the hippie look. She cuts his hair, then takes him to bed. It’s his first time with a woman, and his reaction is a bit extreme, unless you factor in the feelings he might be having about betraying Jon. Of course Jon has male lovers, but the woman he lives with is a different case.

And sure enough, Jon is upset with the new closeness of Bobby and Clare. He goes to stay with his parents for a while, and won’t even take Bobby’s calls. But then his father dies, and Bobby and Clare arrive in Arizona to reclaim the lost member of their triad. Clare is pregnant and wants them all to be a family. So they reconcile. Her inheritance will buy them a house.

They abandon New York City and fix up a house in the country, and open a café in town, with Bobby as cook and Jonny as staff. The baby is born. Jon fears that he has AIDS. There’s another exquisitely beautiful, wild, life-affirming scene where the two men dance. They are so hot together, it’s just magical.

There’s a lot of detail passed by in the movie that was probably in the novel – like, who is the baby’s bio-father? And does Jon ever actually get tested for HIV, and does Clare know about his worries; and if the little girl is his, shouldn’t she be tested too? Anyway, Clare and the baby get ready to go on a trip. Everybody pretends to believe it’s just temporary, but she’s leaving Bobby and Jonny alone. But we know Jon is going to die, so she’ll end up back with Bobby and a nuclear family eventually.

People who create unorthodox families are incredibly brave and admirable. It’s mean-spirited to be irritated with these characters because they couldn’t make it work perfectly, all the time. On the other hand, they did make it work amazingly well for an astonishing amount of time, which is more than most of us are equipped or inclined to do. So, bless them.

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