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ON SCREEN
Brideshead Revisited
Matthew Goode, Ben Whishaw
PG-13, 135 Mins. (BBC Films)
**1/2
Religious difference, social estrangement, and sexual ambiguity
amongst British aristocracy set within the interim of two
World Wars abound in this new adaptation of Evelyn Waugh's
romantic epic. Literary purists will be peeved with this
adaptation, as the film's focus shifts more towards the atheist,
middle-class Charles' (Goode) obsession for Catholic nobleman
Sebastian's (Whishaw) sister rather than their relationship,
however, director Jullian Jarrold captures the essence of
Charles' isolation both in terms of class and religion. The
sexual tension between Goode and Whishaw (whose self-loathing
is tangible) is realistically and delicately portrayed in
the beginning of the film befitting the time and place, yet
the film loses its luster midway through to accommodate the
narrative essentials of self-destruction, spiritual salvation/copping
out—depending on your interpretation, both sides are presented—and
impending war. The rushed pacing of the film is almost forgivable
because of the grandiose cinematography, but not quite. —BRIAN PADGETT
Elegy
Penelope Cruz, Ben Kingsley
R, 108 Mins. (Lakeshore Entertainment)
***
The films of Spanish director Isabel Coixet are full of characters
who'd make you feel like a waste of human flesh if you knew
them in real life. You'd ask them if they'd watched last
night's episode of I Survived a Japanese Game Show and they'd
just look at you like you were a stupid puppy that just pooped
on the floor. They're all very busy having serious lives
and thinking deep thoughts. In this one, based on Philip
Roth's short novel The Dying Animal, Ben Kingsley and Penelope
Cruz develop a mutually unsatisfying affair (he's a womanizing
professor, she's the student who's too good for him). And
while both of them wind up performing the most dreaded third
act fake-out of all, Learning Something Important, you don't
mind because their somber dance together is so well-written,
acted, and directed. Cruz, in particular, finally breaks
out of her great-in-Spanish, not-so-much-in-English rut and
delivers the movie's biggest emotional punch. Now put down
that remote and go look up the meaning of “elegy.” —DAVE WHITE
LIMITED RUN
Shampoo
Julie Christie, Goldie Hawn, and a young Warren Beatty star
in Hal Ashby's tale of politics, sexual intrigue, and great
hair. AFI's Silver Theatre. Thurs., Aug. 7. 6:45 p.m. $10.
www.afi.com.
The Temptress
Greta Garbo's beauty and sexuality is so compelling that
entire nations crumble in her wake. The Silent Movie Theatre.
Wed., July 30. 8 p.m. $10. www.silentmovietheatre.com.
Spartacus
Sweaty gladiators battle it out sans shirts in this Stanley
Kubrick classic. Aero Theatre. Sun., Aug. 3. 7:30 p.m.
www.americancinematheque.com.
Girl's Shorts
This intimate collection of lesbian short films provides
glimpses into the lives and loves of some of the finest
Sapphic women around. Egyptian Theatre. Wed., Aug. 6. 7:30
p.m. $10. www.americancinematheque.com.
HOMO MUST
Brokeback Mountain
This modern classic gives new meaning to the phrase “save
a horse, ride a cowboy.” Samuel Goldwyn Theater. Mon.,
Aug. 4. $3-5. 7:30 p.m. www.oscars.org/events.
ON DVD
The Houseboy
Nick May, Blake Young-Fountain, and Brian Patacca
***1/2
The Houseboy opens with what appears to be a happy, handsome,
canoodling threesome who look too good to be true. Well,
they are. Before departing for the holidays one half of the
partnered couple says he wants a new toy for Christmas—not
the younger guy that was sandwiched between them in the opening.
The breakup doesn’t happen in their rush to catch their plane,
so odd-boy-out Ricky (Nick May) stays behind to tend to the
fish, bunnies, hamsters, et al. While they’re away Ricky
takes it upon himself to bed an assortment of suitors and
he tells his tricks he’s going to kill himself and leave
himself as a present for his pals who left him alone on Christmas.
May proves to be a cute, likable, and honest as an actor—and,
for the record, frequently naked or in various states of
undress. Far better than its title may suggest, The Houseboy
is a surprisingly touching film that is sweeter than it has
any right to be. —WALLY KING
Camp Out
Documentary
**1/2
We’re in rural Minnesota in the summer of 2004 and several
gay Christian teens are searching for their true identities
at an overnight Bible camp where they hope to find the balance
between their spirituality and their sexuality. (What if
we are sinners? What if we are going to hell?) Most feel
like outcasts because of their beliefs in Jesus and they
point out that their religious affiliation alienates almost
as many people as being gay does. Of course, their questions
aren’t easily resolved over one gay weekend, but they’ve
met some peers, cracked the surface, and, at the very least,
they don’t feel alone anymore. As expected, religion, politics
and teenage angst collide in this matter-of-fact documentary,
but what’s best about it is it doesn’t preach; it presents
its information in a palatable form. Just remember these
are teenagers and they act accordingly, so gay and lesbian
teens may appreciate the proceedings most. —W.K.
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