Director: Ryan Shiraki Scenario: Ryan Shiraki Genre: Comedy, Romance Country: USA Year: 2004 Duration: 92 min Rating: 4.8/10
Actors: Sam Huntington, Marla Sokoloff, Mike Erwin, Heather Matarazzo, Kaitlin Doubleday, Bryce Johnson, Jud Tylor, John Goodman, Rachel Dratch, Mark Abney, Dicky Barrett, Jonathan Watts Bell, Palma Botterell, Skylar Duhe, Antonio Echeverria, Meagen Fay, Shannon Floyd, Loren Kinsella, Rachel Klein, Sherri Marina, Murphy Martin, Mark McLachlan, Jeffrey Muller, Michael Osborne, Mary Payne, Michael Salinas, Ashley Sherman
Ovaj film se baš i ne može svrstati u gay themed movies iako je tokom cjelog trajanja filma u centru pažnje jedan momak koji se pretvara da je gay. U samom startu film je za prosiječnog pedera postavljen naopako! Str8 koji se pretvara da je gay je nešto što će svaki prosječno iskusan peder razotkriti! Još ako je taj strejter zgodan i privlačan za pet munuta istina izlazi na vidjelo.
Teže je pronaći pedersku skrivenu stranu kod “str8” čovjeka, nego ovo. Ali ako zanemarimo ovu lošu predpostavku, film se može pogledati i u porodičnom ambijentu, jer vašeg punoljetnog sina i momka sigurno neće zatrovati bezobraznom golotinjom muških tijela.
Priča se odvija u gužvi studentskog života u nekom od američkih univerziteta ili ti sveučilišta kako je meni draže reći, jer tu se zaista svašta može naučiti. Iako sam prošao kroz sve faze studentskog načina života, zaista nisam nikada primjetio da postoje tu muški ili ženski klanovi kao u ovim američkim filmovima. A baš bih volio da tako nešto ima kod nas, stim da bih ja morao biti vođa!:) U tako jednom ženskom klanu zgodni djevojčurak dobije zadatak da slomije srce nekom pederu. Nesrečnim slučajem naletu na nespretnog momka koji u želji da je osvoji izrekne čuvenu rečenicu:”Ja sam gay!”
I nakon toga mora da prođe kroz sva sranja koja se dešavaju pederu koji uleti u coming out!
Obilje simpatičnih i smješnih scena u kojima se nesretni mladić našao i po svoj prilici neobično dobro snašao učiniće da vam ovaj film ugodno utroši oko sat i po vremena.
Mene je podsjetio na moju omiljenu zabavu: “kako u str8 momku otkriti gay stranu i ukazatu mu na nju! ?”
Nakon što sam završio fakultet zaposlio sam se i naravno iznajmio stan koji sam dijelio sa cimerom kojeg sam zvao “ljubavi moja” Pošto on zaista nije peder lako je prihvatio moju zajebanciju i kada god smo bili sami zajebavali smo se kao da smo najzaljubljeniji par. Jednom prilikom mi je rekao da koliko god se mi zajebavali na taj račun , da me zaista iskreno voli i da bi volio da ima curu koju će voljeti kao i mene! Nakom jedno godinu dana našao je!
A Regent Entertainment release of an Element Films presentation of a Greenblatt-Janollari Studios/Persistent Entertainment production in association with LIFT Prods. Produced by Adam Rosenfelt, Dan Halsted, Judd Payne, Matthew Rhodes, Malcolm Petal. Executive producers, Robert Greenblatt, David Janollari, Sam Nazarian. Co-producers, Marc Schaberg, Randy Winograd. Directed, written by Ryan Shiraki.
Clay - Sam Huntington Marjorie - Marla Sokoloff Matt - Mike Erwin Jessica - Heather Matarazzo Amanda - Kaitlin Doubleday Tazwell - Bryce Johnson Serena - Jud Tylor Very Drunk Chick - Rachel Dratch Rodney - John Goodman
With intermittently amusing glee, writer-director Ryan Shiraki's tyro film, "Freshman Orientation," frolics through the political minefields of a typical college campus. Pic's straight hero, a foolhardy college dude, reckons he'll play along with a cute gal's false assumption that he's gay, leading to a politically incorrect but ultimately exhausted social satire on sexual and social expectations. Distrib Regent may try to target gay auds, but could find resistance, given the pic's guy-gets-girl happy ending. Broader marketing pitch in vid may be able to grab a hungry college crowd.
Clay (Sam Huntington) views college life as one long sexual adventure before his boring adult years, but he soon finds that picking up chicks isn't exactly like walking through the produce section. When his first roomie accidentally kicks the bucket, he enlists the far more subdued Matt (Mike Erwin) as his new companion, while fending off the verbal slings of ex-g.f. and current lesbian punkette Marjorie (Marla Sokoloff).
Shiraki's script cleverly dovetails Clay's interest in sorority gal Amanda (Kaitlin Doubleday) with Amanda's mission -- arranged by mega-bitchy sorority leader Serena (Jud Tylor) -- to woo and then dump various "loser" guys. Amanda's target candidate is supposed to be gay, and through a comic mixup stirred by Amanda's potty-mouthed pal Jessica (Heather Matarazzo), Amanda mistakenly believes Clay fits the bill. Sensing a choice opportunity to get cozy with this hottie, Clay plays along and seriously gets into his new persona. Pic good-naturedly follows Clay through his somewhat unsentimental gay education, greatly boosted by jolly gay barkeep Rodney (John Goodman, having a fine old time in colorful support).
But the comedy starts sputtering as the truth about Clay's sexual preference and Amanda's ruse surface. It's as if Shiraki ran out of ideas and hoped his cast would carry things. Pic lurches from incident to incident, leading to a silly knock-down-drag-out between the college radicals and conservative Greeks, with a final section that's thoroughly out of fuel.
Huntington displays a real eye and ear for funny timing and behavior, and charms with a bad-boy glint. As a confused young man who comes out of the closet, Erwin's Matt sometimes feels as if he's walked in from another movie, while Sokoloff and Matarazzo have a ball with their zinger lines. Playing the aptly named Very Drunk Chick, Rachel Dratch is a lot less funny than she usually is, but proves that she's a comic thesp with no shame. Production package mimics the bright look of studio teen and college comedies, but at a noticeably lower pricetag. Music selections abound in cleverness, ranging from re-dos of Janis Ian to Britney Spears.
Director: Tom Gustafson Scenario: Tom Gustafson, Cory James Krueckeberg Genre: Adventure, Fantasy, Musical, Romance Country: USA Year: 2008 Duration: 95 min Rating: 7.8/10
Actors: Tanner Cohen, Wendy Robie, Judy McLane, Zelda Williams, Jill Larson, Ricky Goldman, Nathaniel David Becker, Christian Stolte, David Darlow, Parker Croft, Brad Bukauskas, Reid Dawson, Alexander Aguilar, Yoni Solomon, Colleen Skemp
Description:
Nisam siguran da je ovaj tip filmova san današnjeg prosječnog tinejdžera, više mi nekako liči na snove tinejđera 70-tih godina. Kako god bilo, onim romantičarima koji sanjaju o svom najboljem drugu, a ne smiju mu to reći, mjuzikl Where the world mine bi mogao oslikati san. Negdje sam već gledao neku skraćenu verziju ovog filma, al nisam bio baš nešto oduševljen. Možda je samo bio loš trenutak ili naprosto nisam bio raspoložen za mjuzikl o tim dječačkim snovima. Neki klinac mi jednom reče kako bi volio da živi sa nekim kao što to žive njegovi roditelji. Pitao sam ga da mi opiše kako to zamišlja i on mi ispriča čitavu jednu bajku kakvu može da sastavi samo romantičar kao on! Na kraju te priče samo sam mu rekao :" Probudi se mali! Život se ne živi u bajkama!"
The phenomenon of teen musicals - beloved by actual teens - is a little perplexing. There is just nothing ... cool ... about breaking into song and dance routines in daily life. Disney's "High School Musical" juggernaut and the popularity of the stage show and film version of "Hairspray" have brought more attention to the teen-centered Broadway hit "Spring Awakening," which will be made into a film as well.
"Were the World Mine" follows the teen musical formula but renders its material with admirable lushness and intelligence. It was a hit as an indie short film on the film festival circuit before director and writer Tom Gustafson turned it into a full-length musical, so irony and self-referral humor are written into its DNA.
"Were the World Mine" tells the story of out gay teenager Timothy (Tanner Cohen), who is attending a boys' private school. He is hazed repeatedly and ruthlessly by his homophobic classmates, but he survives by escaping into fantasy (here come the musical sequences) - mostly, fantasizing about the extremely cute Jonathon (Nathaniel David Becker). He also has to deal with his struggling mother (Judy McLane) and friends Frankie (Zelda Williams, daughter of Robin) and Max (Ricky Goldman).
Life changes abruptly for Timothy when, after being cast as Puck in the school production of "A Midsummer Night's Dream" by his slightly batty drama teacher (played by "Twin Peaks" actress Wendy Robie), he finds a secret recipe embedded in Shakespeare's famous farce. Timothy, like Puck, has the ability to make people fall in love with the first person they see. Should he use it?
Well, it wouldn't be much of a movie if he didn't. As the action unfolds, with dazzling color and crisp choreography, the homophobic boys get the lesson of their lives.
The weakest part of the movie, besides some rather drawn-out plot machinations, is the musical aspect. The tunes just aren't catchy enough to linger or clever enough to stand in for dialogue. It's a welcome addition to the cavalcade of teen-focused musicals, but like a midsummer night's dream, can hardly be remembered the next day.
-- Advisory: Boys kiss boys often in this film, but nothing truly shocking.
Director: Aleksandr Sokurov Scenario: Sergei Potepalov Genre: Drama Country: Russia, Germany, Italy, Netherlands Year: 2003 Duration: 83 min (Cannes Film Festival) | Russia:97 min | USA:82 min (Wellspring DVD) Rating: 6.5/10
Actors: Andrei Shchetinin, Aleksei Nejmyshev, Aleksandr Razbash, Fyodor Lavrov, Marina Zasukhina, Anna Aleksakhina, Jaime Freitas, Joăo Gonçalves
Description:
Nisam psiholog, ali definitivno ne razumijem porijeklo mnogih priča dad-son. ČMnogi pederi na chatovima ili u nekoj drugoj komunikaciji kažu da ih ne privlače mladići već samo stariji ljudi. Imam jednog prijatelja, koji ima oko 22 godine i koga privlače samo oni preko 40 godina. Za mene je rekao da mu izgledam nekako mladoliko pa sam ga zamolio da mi nikada ne daje kompliment da dobro izgledam. Al nije jedini koji voli samo dosta starije. Neznam zašto je to tako jer mene je u mladosti sve privlačilo. I mladji i stariji i žene i muškarci. Naprosto radoznalost me je pokretala u svim pravcima.
Ono što je ključno u privlačnosti starijeg muškarca je definitivno pouzdanost, sigurnost, snaga, karakter i postojanost. Zaštitnički, često dominantan odnos koji pruža stariji muškarac je ono što kod klinaca nikada ne možete dobiti. Sve u svemu sve to razumjem jer i mene privlače uglavnom stariji muškarci mada u zadnje vrijeme često imam seks i sa mladjima što mi se nije dešavalo ranije. Ono što ne razumijem je incestualna mašta koja se proteže kroz mnoge romane, filmove, stripove, predstave...
Da li je možda nedostatak očeve ljubavi uzrok homoseksualnosti, ili predominantnost majke? Na žalost ja to jedva da razumijem. Prirodan odnos je da se dijeca u jednom periodu odrastanja poistovjećuju sa ocem, a kasnije prolaze kroz lavirint tražeći sopstveni identitet. Ova priča nam nudi malo drugačiju perspektivu tog odrastanja. Ruski režiser Alexander Sokurov nam nudi malo drugačije viđenje odnosa između oca (Andrei Shchetinin) i sina (Aleksei Nejmyshev), priču koja je na ivici ljubavne romanse. Obrnuti redoslijed gdje se otac u jednom trenutku poistovjećuje sa sinom.
Film počinje erotičnom skoro incestualnom scenom gdje otac i sin pričaju o snu u kojem je sin sam negdje, go bez ičega na sebi. Otac ga pita jesam li ja pored tebe , on kaže , ne ja sam sam, na nekom putu! Jasno razumljiva simbolika potrebe da se sam odredi kojim putem treba da ide. Priča je puna napetosti, strepnji i strahova. Kroz dijaloge oca i sina na krovu nekog stana negdje jako visoko izmješale su mi se silne emocije uzbuđenja, napetosti pa na kraju i straha da neko ne padne sa tog krova po kojem skaču kao da su na nekoj livadi. Moto ove priče je iskazan kroz riječi sina: "Očeva ljubav je krst. Voljeni sin dopušta da bude razapet." Emocionalna zamka u koju su upali nije prekinula put kojim se treba ići, ali je definitivno izazvala nedumice i strahove od samoće kod oca. Kada sin treba da se okrene sebi i ode da živi u drugi grad, otac se našao u strahu od samoće. Sin razapet između potrebe da bude sa ocem i potrebe da nastavi svojim putem u jednom trenutku pozove druga i kaže: " On je moj otac, a ovo je moj drug, ja ga jako volim!", ostavljajući bez teksta Oca jednako kao i gledaoce. Prirodan kraj ove skoro nestvarne romance.
Film je prepun imaginarnih slika koje se spajaju u jednu skoro mitološku priču o opterećujuće jakoj ljubavi oca i sina. Inaće kroz film se konstanto provlači neka jedva vidljiva homoerotičnost, koja nas obasipa od početka do kraja priče. Zaista majstorski urađeno! Ukoliko želite da se upoznate sa fantastičnom trilogijom Andrei Shchetinina, pogledajte filmove "Russian Ark" i "Mother and Son" koji predhode ovom filmu.
Eto toliko o filmu, bolje da ga odgledate sami nego u društvu. Neke stvari koje ova priča može pokrenuti u vama naprosto nisu za podijeliti sa bilo kim!
Sokurov's From Russia With Man-Love By Fernando F. Croce
In this age when the media's interest in homosexuality scarcely extends beyond queer-eye, is-he-or-isn't-he winks, it's no surprise that so many critics have tried to pigeonholed Father and Son as a "gay movie," much to the irritation of its creator, Russian director Alexander Sokurov. (Repeatedly asked about his latest effort's alleged homoeroticism last year at Cannes, he reportedly tsk-tsked a roomful of journalists on how dirty-minded their side of the globe has become.) Either way, the label has stuck (it had its first U.S. showing at the Boston Gay and Lesbian Film Festival last May), but the film is hardly a queer work in the sense that pictures by Fassbinder, Warhol or Jarman are queer works, though those artists' influence is apparent in the first shot: heavy breathing against a black screen, followed by close shots of intertwined, sinewy male limbs.
The opening suggests man-love, though its eroticism is spiritual -- the Father (Andrey Schetinin) comforts his Son (Aleksey Neymyshev) after a nightmare, and Sokurov frames the sculptured bodies as soft-edged, amber-toned pietas, the first example of both the auteur's painterly visual style and his questioning of established notions of masculinity. Reductive as it may be, the gay interpretation is more than understandable -- ruggedly handsome Schetinin and teenage-dreamy Neymyshev are strapping specimens, photographed ethereally in all their shirtless splendor, gazing into each other's peepers and caressing each other's faces when not lifting weights on their building's rooftops. The film further fans the flames by grounding the sliver of a plot upon jealousy and separation anxiety, as the arrival of a bereft young buddy, left behind by his own dad, threatens to push Father and Son apart.
Sokurov's images of beautiful guys horsing around and exchanging bear hugs make people squirm because they present the eroticization of male flesh without the mediation of the female gaze, since the contemplation of male beauty in mainstream cinema can only be kosher after it's been filtered through a woman's eyes. Save for Neymyshev's duplicitous girlfriend, women are rarely seen in Father and Son, yet the film is the most feminized of Sokurov's works. Or, to be more exact, the one where such qualities as tenderness, grace and delicacy, normally filed by society under "feminine," are allowed to roam and bleed into such "masculine" ideals as virility, aggression, and stamina. Touch bridges the two. While the characters' energies find an acceptably "male" channel in the military touch exercises the Son participates in, the intimacy of feeling between the two men remains just as bound to an intense physicality that, through Sokurov's purist handling, strips the visuals of any prurience, straight or homo, and makes them exalted, the spiritual turned flesh, tangible.
It's fascinating to compare the film to Andrei Zvyagintsev's The Return, another Russian import also dealing with father-son relations. Zvyagintsev shares with Sokurov a painterly sensibility (the estranged father's first appearance sprawled in bed recalls Mantegna's Dead Christ) and a preoccupation with Nature (absent in Father and Son, except for glimpses in dreams), though his movie's boot-camp itinerary is far more conventional than Sokurov's, with the father's abusive behavior torturing his standoffish sons only to be sentimentally celebrated at the end. Looking back, I believe Zvyagintsev has a paternal relationship of his own to deal with, namely with Andrei Tarkovsky, that grand albatross wrapped around the neck of every young Russian artist. The Return is full of allusions to the late genius, and the characters' ambiguous relationship may mirror the director's with his ghostly father figure, with the movie a way of both acknowledging and exorcizing his presence. Equally mysterious but far more autonomous, Father and Son drenches its opacity in a depth of expression that lifts the familial relationship onto a cosmic plane.
Moviegoers who know Sokurov only from the crowd-pleasing technique of Russian Ark have no ideal what a demanding director he is. Though that picture's one-camera-movement-through-the-ages extravaganza forged a wondrous anti-montage statement that Hitchcock, Ophüls, Rossellini and Preminger would have killed for, the stunt flattened the complexities of both Russian history and the filmmaker's own art. Sokurov's follow-up is a return to the profound transcendentalism of Second Circle and Mother and Son (to which the new movie plays companion piece), works of overwhelming aural-visual emotion where the loss of a parent equals nothing less than the death of the world. Like those films, Father and Son challenges and maddens, its liquidity of image and thought dovetailing into the deepest well of emotion. "A father's love crucifies. A loving son lets himself be crucified," says Neymyshev, bringing the film's Biblical dimension to the fore. His later comment cuts even closer to the bone: "This is my father. And he is my friend. I love him very much." A statement of breathtaking simplicity in a film of breathtaking complexity.
Director: Antonio Hens Scenario: Antonio Hens Genre: Comedy, Short Country: Spain Year: 2000 Duration: 17 min Rating: 7.5/10
Actors: Israel Rodríguez, Pablo Puyol, Antonio Álamo, Juan Carlos Rubio, Juanma Lara, Concha Galán, Miguel Zurita, José Manuel Seda, Aníbal Soto, Juan Carlos Villanueva, Manuel Salas, Cuca Escribano, Rafael Salazar, Virginia Pérez, Julio San Juan
Description:
Dobro jutro, odavno nisam ništa pisao po blogu. Razlog nije taj da sam napstio blog nego jednostavno nemam vremena. Kako se primiče ljeto sve više posla imam, a sve manje vremena da gledam filmove. Sa druge strane ništa novo što bi bilo vrijedno komentirati nisam gledao. Zato sam malo vrtio stare filmove koje imam i listao druge blogove i sajtove u potrazi za nečim zanimljivim. Da budem iskren sve sam već ili gledao ili jednostavno ne znam zašto bi neki film stavljao na blog. Mnogi od njih jednostavno nisu gay tematike iako se nalaze po gay tematskim sajtovima.
Za jutros sam vam odabrao jedan kratki film od nekih 17-tak minuta. Film je iz kolekcije Boy Briefs 2 i zanimljiv je za pogledati. Govori o jednom tinejdžeru i njegovom pogledom na ljude oko sebe. On jednostavno zna šta oće, a često uradi i ponešto što neče! Sjećate li se tih vremena, kada ste uvijek gladni seksa i ljubavi trčali od jednog do drugog lika? Najčešća i uobičajena tinejdđerska pojava. Svestan svog izgleda i privlačnosti vješto manipuliše ljudima oko sebe, sve dok nije nagazio na minu i to u jednom tržnom centru u wc-u. Da bi sve bilo začinjeno o njegovim seksualnim afinitetima saznaju i njegovi roditelji i to od policije. Ipak krv nije voda, koliko god teško bilo prihvatićemo tu realnost i nakon svih ppočetnih muka pokušati da pomognemo rođenom djetetu, zar ne. A ljubavi dodju i prodju, sve dok ne nađemo neku koja nam se uvuče u svaki dio tijela i zauvjek ostane sa nama! Film ima titl na engleskom. Skinite ga OĐE ( baš mi je simpatično napisti to OĐE )
Doors Cut Down (one of the shorts on Boys Briefs 2) is about the adventures of Guillermo, a gay high school slut boy, in the mens room of the Shopping Mall in his neighborhood. Under Today's Laws for Films For and By Abused Homos, Doors Cut Down would end with Guillermo either dying of AIDs or him being beaten to death in a violent gang gay bashing. Fortunately, Doors Cut Down wasn't made by an American Homo, Doors Cut Down ends with Guillermo alive, healthy and happy roller blading through his neighborhood.
Doors Cut Down is one of the few GAY FILMS I've seen that presents a young gay guy as happy and having fun being gay. Guillermo is clearly a slut and a tad irresponsible, however, what young guy, gay or straight, isn't a slut and a tad irresponsible.
There is something very familiar looking about the actor who plays Guillermo, Israel Rodriguez. Israel appears to have done a lot of acting work.
There is a scene in the movie that reminds me of something one of the Bel Ami directors said about making gay adult movies, the directors said that Gay Guys are always harder to work with.
When Guillermo narrates how he picks up men, he says that the Gay Guys are always more difficult. There is a scene of Guillermo and an older Gay Guy and the guy is going on and on about how he doesn't hang out in mens rooms and about how he is looking for a relationship, this scene takes place in a stall in the mens room. Obviously, the Gay Guy comes off looking a tad silly saying that he is looking for a relationship when he is in a toilet stall with a high school kid.
The actor who plays Guillermo is very good, he has a perfect way of conveying being on the prowl without it looking sinister. There is a shot of Guillermo kissing his older boyfriend while simultaneously eying another guy to have sex with that is just too cute for words.
Director: Casper Andreas Scenario: Casper Andreas Genre: Drama Country: USA Year: 2008 Duration: 97 min Rating: 6.5/10
Actors: Simon Miller, Rob Harmon, Ryan Turner, Austin Head, Jane Elliott, Justin Tensen, Caroline Delran, Aaron Michael Davies, Kenny Wade Marshall, Jared Gertner, Mich Lyon, Mackenzie Shivers, Sabrina Samone, Carol Carter, Peter Chien Jr.
Šta vam treba ako želite da odete u ameriku? Jedan od recepata izgleda ovako: 1 peder koji je zaljubljen u vas 1 lezbijka koja pristaje da se uda za vas - Svi njihovi prijatelji
Znači kada odete u ameriku , prvo što uradite je da se udate za lezbijku. Pazite samo da ne izgleda muškije od vas! Nije lijepo za viđet, da vam se ne začude roditelji kada im šaljete fotografije!
Zatim morate da naučite sve o vašoj ljubljenoj, kako joj se zovu roditelji, gdje žive, u koju školu je išla , u kje gradove je sve živjela, dje ima mladež, đe radi.... ma sve živo morate da znate o njoj! Ako nije pričljiva pitajte njenu đevojku , ta sigurno zna sve! A i njoj recite sve o sebi, pa neka joj prenese sve o njenom mužu! Srećom u ovom filmu za to nije bilo potrebe jer je lezbijka sama sve naučila , a i nije baš mutava. I tako dobijate zeleni karton! Imate brak, dečka i prijatelje, još samo danađete posao i uživajte srečno do kraja života!
Tako izgleda idila iz ovog filma! Uz dosta romantične muzike , malo seksa, malo golotinje, i drugih začina kako bi priča bila ukusnija za gledaoce i dosta reklama, jer se ipak radi o novom prehrambenom proizvodu namjenjen pretežno gay populaciji! Zaista nje bitno , što su glumci u ovom filmu prilično amaterski odradili svoje uloge (izuzimam ženu lezbejku) Sve je to tako dobro upakovano da je zaista teško ne kupiti i otvoriti ambalažu.
Mada sve bi izgledalo mnogo privlačnije da se znalo ko je kod onog gay para muško , a ko žensko. Ovako nekako mi neprirodno da žena jebe muža, a nekima se može učiniti da je to ipak seks između dvije lezbijke! No to je stvar izbora i afiniteta! Film me podsjetio na vrijeme kada sam skoro bio u braku sa jednim momkom. Taman sam ga bio predstavio mami i porodici i mislio da sam srećan u braku, kad se na žalost ispostavilo da ne možemo da imamo đecu. A đe nema đece brak obično propada. Tako je to.
A scena u filmu đe jedan od njih dvojice priznaje prevaru me je rasplakala. Pita ga on, pa jeste li imali seks? A ovaj drugi odgovara: Ne definitivno nismo, samo mi je pušio. A ti jesi li njemu pušio? Predpostavljam da jesam, samo malo! Sva sreča te nisu imali sex!
Nije loš film za odgledati ga kada nemate druga pametnija posla! Možda je najbolje odgledati ga nakon dobrog seksa, pa onda onako opušteno i dremljivo slušati muziku koja će se vjerujem pojaviti na svjetskim gay top listama! :)))
After Marcel (Justin Tensen) flies in from France to get married to Sarah (Jane Elliott) in New York City, Marcel goes off to his musician boyfriend, Kyle (Simon Miller) and makes out with him. It turns out that Sarah’s a lesbian while Marcel and Kyle are both gay lovers and the only reason he and Sarah got married was so that he could get a green card. In a rather implausible scene, Kyle and Sarah go to the Department of Immigration to prove that they’re married and both of them struggle to answer certain questions seem uncomfortable during the interrogation, yet they’re somehow able to fool them.
Just when Marcel moves into Kyle’s apartment, April (Rob Harmon), a transsexual prostitute, moves in as well. Will Kyle be able to give equal attention to both Marcel and April or will there be some sort of a conflict involving jealousy? Marcel clearly wants to spend more time with Kyle and thinks that April’s getting in the way, but the way he deals with his problem so aggressively and insultingly seems very immature and selfish to Kyle as well as to the audience. Soon enough, their relationship hangs on thin ice that could break any second. April has problems of her own when her body doesn’t accept her new breast implants, so she has them removed, shaves her head and decides to go back to being a man again. Despite a terrific ensemble cast that adds some much-needed energy to the film, writer/director Casper Andreas’ uneven, occasionally stilted screenplay falls somewhat flat in the romance, drama and comedy departments. On a positive note, Andreas includes a well-chosen soundtrack and smooth, stylish cinematography. The flashbacks showing how Kyle and Marcel had first met at a club, however, don’t help to give the audience a sense of why they’re truly in love with one another. What makes their connection beyond a physical attraction?
Why do Marcel and Kyle behave so naively, especially when Kyle decides o distance himself away from him? It’s as though they’re both still stuck in their teenage years and haven’t learned how to listen attentively to one another, to compromise or to articulate their feelings respectfully for that matter. Their rudeness and jejuneness get on your nerves more often than not. Moreover, both of their actions in the third act feel out-of-character and make them quite unlikable. The only remaining character who remains likable and charismatic throughout happens to Sarah, but there aren’t enough scenes with her. Had she been the protagonist instead and with a more organic and witty screenplay, Between Love & Goodbye would have been much more engaging rather than often dull, contrived and unmoving. It also doesn’t help that its abrupt ending leaves you with a bad aftertaste.
Director: Terry McDonough Scenario: Jimmy McGovern Genre: Drama Country: UK Year: 2007 Duration: 58 min Rating: 8.0/10
Actors: Dean Andrews, Mark Benton, Kieran Bew, Will Mellor, Vincent Regan, Matt Smith
Description:
Jeste li kada muvali oženjenog čovijeka? Ili možda bili u vezi sa nekim oženjenim muškarcem? Posledice toga mogu da budu zaista pogubne i neobično teške. Nemojte mi samo reći "pa nisam ništa uradio , što i on nije htio" Bilo bi fer sa vaše strane da prije nego se upustite u avanturu sa nekim ko ima porodicu i dijecu barem razmislite koliko taj čovijek rizikuje sa vama. Ne kažem da u svakoj priči ne postoji i druga strana medalje, ali ako vas je strast ili emocija ponijela za nekim ko je "100% str8" najmanje što možete učiniti je da ispoštujete maksimalnu diskreciju i svojim ponašanjem ne dovede u pitanje integritet čovijeka sa kojim ste nešto započeli.
Slušao sam priče raznih pedera koji se međusobno šale kako su maznuli nekog oženjenog lika i kako im je super sa njim. S gađenjem bih odlazio jer takav mentalni pederluk teško podnosim. Kompromitacija bilo kojeg čovijeka na bilo koji način je stvarno pederska ljigavština. Posebno od likova koji su stupili u vezu sa nekim kome je potrebna takva diskrecija. Ako već on rizikuje toliko mnogo ispoštuje bar to elementarno pravilo.
Kakve sve posledice mogu da proisteknu iz takvih priča pogledajte u ovoj BBC - jevoj seriji! Moja iskustva sa oženjenim muškarcima su zaista velika, što več stalni čitaoci ovog bloga mogu zaključiti iz dosadašnjih tekstova. Vjerujte nikada nisam niti bih doveo u pitanje ljudski integritet čovijeka sa kojim djelim zajedničke emocije niti njegove porodice. Radije bih raskinuo svaki kontakt nego doveo u pitanje djetinjstvo bilo čijeg djeteta, ili bilo čije porodice. Ako već imate vezu sa nekim ko ima obaveza prema familiji, onda se pomirite sa tim ili se ne upuštajte u to. Okanite se priča, ovaj ili onaj je peder, bio sam sa njim ili znam da je sa nekim. Neke stvari ipak sačuvajte samo za sebe! U suprotnom bićete zaista samo obični ljigavi peder!
Serija je titlovana na španskom , ali ipak je nije problem pogledati!
Author: last-picture-show from London, England
*** This comment may contain spoilers ***
Like others in this drama series believability is often stretched to the limit. At face value this tries to be a sensitive portrayal of a married man who discovers he is gay but unfortunately it is let down by following every gay-drama cliché in the book.
There is no indication at all that Charlie is gay until he is propositioned by work mate Tom and this leaves the unfortunate impression that he wasn't interested in men until he was 'seduced'. A tired old banality. The gay club Tom later takes him to is ludicrously portrayed as a place where men in drag, erotic male dancers and violent queer-bashers all share the same space. Any sense of reality is lost when Charlie gets mugged by an abusive homophobe in the toilet of the gay club. Simply unbelievable! This unrealistic scene only happens so the crime gets reported to the police and Charlie's gay encounter will be exposed.
Charlie rings a gay help line that is ridiculously portrayed as some kind of sex line that charges premium rates. The ensuing massive phone bill is important for the plot but is a gross misrepresentation of any real gay advice service. When the police become involved in investigating the earlier mugging the writer seems to be unaware of changes in police attitudes in the last 10 years. In this drama the police betray Charlie's 'gay secret', ultimately to his son, resulting in one of those awful scenes from gay dramas of the 1980's involving lots of shouting, punching, blood and violence where gay characters loudly confess all to an assembled group of startled heterosexuals. All a bit naff really.
Throughout the whole piece there is a nasty feeling that if only he hadn't had his brief encounter with Tom everything would be fine. Nowhere is this more evident than the scene where Charlie is confronted by his son.
The acting throughout was excellent but the plot lacked realism. A wasted opportunity.
Priča o Korejskom Caru koji je svog tjelohranitelja volio koliko i svoju zemlju! Zaista sjajna istorijska drama, koju sam odgledao u dahu! Pravo osvježenje nakon gomile menlanholičnih filmova koje sam gledao u zadnje vrijeme!
Ne znam da li je radnja filma zasnovana na istinitom dogadjaju jer ne poznajem korejsku istoriju ali je scenario urađen u duhu najboljih američkih istorijskih filmova.
Goryeo je korejska dinastija (918-1392) koja se nalazila na području današnje Koreje. Nakon 1392. godine pokorava se kineskoj dinastiji Yuan, čime se definitivno završava era korejskih kraljeva. Toliko o tome, a film nam priča ep o jednom Goryeo caru iz vremena pred dolazak kineske dinastije Yuan , kada je korejski car iako suveren, priznavao kinesku dinastiju kao superiorniju!
Kao budući kralj, dječak je odrastao učeći borilačke vještine, govorništvo, umjeće vladanja, politiku, tradiciju i sve ono što jedan car treba da zna. Ono što nikada niko nije mogao da ga nauči je kako voljeti ženu. Kralj je volio šefa svoje kraljevske garde kojeg je učio lojalnosti i ratničkim vještinama od malih nogu. Osim što su bili jako emotivno povezani, tradicija i vaspitanje su ih naučili da se jedan prema drugom odnose onako kako im položaj i protokol nalažu. Ipak u povremenim trenucima osame mogli su jedan drugome otvoriti dušu i iskazati ljubav koja je nadjačavala sve ono što su učili i poštovali.
Kako je kineska dinastija tražila od cara da imenuje naslednika tako se car našao u nevolji. Iako je oženjen to je ipak bilo samo protokolarno.Naslijednik se ne dobija samo međusobnim uvažavanjem, za to je ipak potrebno napraviti dijete.
Kralj koji je totalno gay nalazi rješenje da njegov tjelohranitelj Hong Lim to uradi umjesto njega. Iako nevoljno, Hong Lim pristaje na to. Ali ne ide sve onako kako je kralj zamislio! A kako je i mogao da predpostavi da osoba koju toliko obožava može da se zaljubi u kraljicu.
Hong Lim kraljev predmat obožavanja, simbol lojalnosti i odanosti, biva od samog kralja gurnut u nepovratnu emocionalnu izdaju!
Film nam ovu priču priča u jedinstvenom koloritu dalekog istoka. Kostimografija, scene, palate, vrtovi, ratnici i istočnjačka tradicija se protežu tokom cjelog filma, te uz dobro ukompnovanu muziku čine da nam doživljaj vremena i prostora bude blizak.
Da bi se shvatila jačina emocija koje nas obasipaju tokom cjele ove priče morali bi ipak malo poznavati strogu istočnjačku tradiciju. Mada čak i da vam sve to i nije toliko blisko, siguran sam da će te osjetiti snagu pogleda i poruke koje nam karakteri u filmu upućuju. Definitivno ravnodušni nećete ostati gledajući ovu zaista sjajnu filmsku priču.
By Yang Sung-jin
Source : www.koreaherald.co.kr... ( English Korean )
Homosexuality is no longer a hush-hush topic for Korean filmmakers. But depictions of sexuality take another turn in "Ssanghwajeom" ("A Frozen Flower"), as a relationship between two men becomes a triangle of jealousy with an addition of a woman.
But the movie, to be released on Dec. 30, is not limited to sexual entanglement. Sex is used as a key tool to prod the plot forward, often at a rapid pace. To that end, director Yoo Ha includes plenty of explicit scenes of sex and graphic violence. The result, however, is somewhat mixed. The film's poetic justice produces an unlikely anti-hero.
Although the movie sets itself out as a historical drama set in the late Goryeo Dynasty, viewers should bear in mind that the story is purely fictional. The nation is now under the virtual rule of China's Yuan Dynasty, and Goryeo's king (Joo Jin-mo) has to produce a son to keep his position. The only problem is that he cannot sleep with a woman, much less have a romantic relationship with one.
The king's real romantic partner is none other than his chief bodyguard Hong Lim (Jo In-Seong). The two have sex in the inner sanctums of the Goryeo court, and we are shown a graphic kiss scene between the king and Hong Lim, which is bound to shock some Korean viewers.
But the real shocker comes when the king decides to ask Hong Lim to sleep with his wife - the queen (Song Ji-hyo). This idea is based on his assumption that all his political problems will go away once there is a royal son.
The king's miscalculation, of course, is that passionate romantic feelings sometimes form after sex. Hong Lim, who has never slept with a woman before, hesitates to touch the body of the queen at first, but once the physical bond is initiated, he finds himself totally enslaved.
Love triangle established, the plot sprints ahead with a portrayal of the uncontrollable anger and jealousy of the king, leaving heads rolling in the process.
Director Yoo seems to suggest that Hong Lim has long been subjected to a sort of coercion, rather than a real romantic relationship with the king. Hong is a mere subordinate, while the king has all the power, including the right to order his death.
The queen, for her part, discovers the liberating exhilaration when she falls in love with Hong Lim after years of neglect and inattention. She suffers a deep sense of guilt initially but she finds herself indulging in the dangerous liaisons with Hong Lim.
What is notable is that sex in "Ssanghwajeom" ("A Frozen Flower") is deeply associated with death. Eros is often depicted in literature and film as being able to overcome everything. The feelings that interconnect Hong Lim and the queen could backfire lethally because they are cheating on the almighty king.
As far as a plot is concerned, the unfortunate queen and her lover bravely defy the obstacles to prove that mutual love is more powerful than unrequited passion. The king's relationship with Hong Lim has been futile and one-sided. Failing to confirm whether his bodyguard is truly in love with him, he comes to realize that he is totally alone.
It is a pity that the king, trapped in a man's body, is betrayed by his secret lover. What the king fails to notice is that Hong Lim is a bisexual who prefers heterosexual sex.
But Joo Jin-mo does not have to lament his role. It is Jo In-Seong who fails to create much-needed emotional subtlety and often delivers his lines in an annoyingly mechanical fashion. In contrast, Joo Jin-mo emerges as the ultimate winner in the film. Joo pulls off creating a complex and nuanced character with whom audiences will be able to sympathize, rescuing a film that might otherwise have fallen into the trap of having too much sex and violence.
