Going Harry
by Gregg Shapiro
# Gay interest
*# Chop Suey (Zeitgeist Films) : Dim Sum is more like it! This photo and video buffet by famed photographer Bruce Weber has a variety of flavors and side dishes for all tastes. The centerpiece is his fixation with young model and Wisconsin-native Peter Johnson who Weber met while Johnson was attending a wrestling camp (!) in Iowa. Weber interweaves the (occasionally pretentious) narrative with color and black-and-white footage of Johnson, the late singer Frances Faye (a lesbian), GQ model Jeff Aquilon, Jiu Jitsu champion Rickson Gracie (and his family), Robert Mitchum, Diana Vreeland, and surfer Christian Fletcher (and his family). Particularly fascinating are the interviews with Teri Shephard, Ms. Faye’s longtime companion (they were together for more than 30 years), and her interactions with young Mr. Johnson. Mr. Weber speaks of “making something beautiful out of desire,” and with the tasty Chop Suey, he succeeds. On a scale of 1 to10: 7
# Come Undone/Presque Rien (Picture This! Entertainment) : Moving back and forth over the course of a short period of time, this French film (with English subtitles) tells the sexual coming of age story of Mathieu (Jeremie Elkaim) and Cedric (Stephane Rideau, who also played gay in Wild Reeds), two boys in their late teens, who meet at the beach in a resort town and begin a sexual and romantic relationship. Cedric, the more experienced of the two, has had his eye on Mathieu for a year and finally makes his move. The impressionable Mathieu, who is summering at the beach with his depressed mother, jealous and suspicious younger sister, and aunt, is receptive to Cedric’s advances, and it doesn’t take the two long to become involved. Sexually graphic and erotic, the movie is also populated with open-minded characters (Cedric’s father, Mathieu’s mother and aunt), who keep the action from getting overly dramatic. However, the movie is rather slow-moving, and the nonlinear storytelling gets confusing. On a scale of 1 to 10: 6.5 (@ Landmark)
Harry Potter and the Sorcerer’s Stone
by Lawrence Ferber
Although all four of J.K. Rowling’s published Harry Potter tomes occupy my bookshelf, I’ve yet to peruse them. Having partaken of Chris Columbus’ effects-rife film, I’m motivated to begin the task ASAP, so I may get truly caught up in his fantastical world for much longer.
While an infant, Harry Potter’s magical parents sacrificed themselves so that he might survive a diabolical wizard’s assault. Raised since by jealous, vile, and non-magical relatives (“Muggles”), Harry finally reclaims his birthright and is whisked away to Hogwarts School of Witchcraft and Wizardry by gentle giant Hagrid (Robbie Coltrane). There Harry falls in with fellow students Hermoine (Emma Watson), a spunky lass, and redheaded rebel Ron (Rupert Grint), falling out with elitist Draco (Tom Felton with an unsubtle Aryan ‘do). Between lessons in broomstick riding and spellcasting and playing the sport Quidditch, the kids stumble upon what could be a dangerous plot involving a stone that can impart immortality and the demonic thing that almost killed Harry! Can teachers like kindly Albus Dumbledore (Richard Harris), snippy McGonagall (Maggie Smith), stuttering Quirrell (Ian Hart), and highly suspicious Snape (Alan Rickman) be counted upon to help our heroes … or betray them?
The true magic in Harry Potter lies not in our wanting to simply witness him experience these adventures, but to BE him. And the moments where we’re sucked into Harry’s psyche are genuinely moving and breathtaking, especially those in the film’s first 20 minutes when it’s clear something’s different about this kid although he’s not quite sure what. Also bringing dreams to life are plenty of magical creations and visuals, including a talking “sorting” hat which assigns students to the school’s various dormitories, paintings whose subjects move, staircases which change destinations, trolls (OK, those we have in real life), podrace-esque Quidditch matches, and hovering, ghastly ghouls who sup silvery unicorn blood.
Unfortunately, much of the 2-1/2 hour film isn’t spent inside Harry’s noggin, nor does he seem a very dichotomous, complex creature, a shortcoming I attribute to Columbus’ overly cautious handling of his actor and material (no surprise considering his godawful sappy filmography which includes Bicentennial Man and Mrs. Doubtfire). Set pieces bump into each other with no sense of timeline, and the school’s surely fascinating classroom minutiae is kept to a disappointing, broad-stroked minimum. Here’s hoping wizards Spielberg or Burton eventually get a go.