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Billy Eichner: "Bros"

 First, I had a few issues with this movie. I didn't love how Billy Eichner sometimes seemed to believe he was the first gay person putting a gay love story on the screen; earlier, and sharper, writing has come from Adam Goldman and Chris Kelly ("Other People"), among others. I did not see "Pride and Prejudice" transported to Fire Island, but people like that one, too.


I do think the commentary on "straight" representations of gay lives is pretty funny. Gay suffering is a moneymaker; Lillian Hellman's "The Children's Hour" is one of many examples of the "let your gay character die" principle, in writing. "Brokeback Mountain" and "Power of the Dog" borrow from Lillian Hellman, in some ways. But to play devil's advocate: suffering is also a major part of storytelling just because suffering is interesting. I'd rather see a fight than a slo-mo depiction of falling in love. And the pain of the closet is just fascinating material for actors; I think all acting is about the idea of double lives, and the closet makes this idea literal. So we have Julianne Moore playing a lesbian, again and again, in "Freeheld," "The Kids Are All Right," "The Hours" (sort of), "Can You Ever Forgive Me" (before she was fired). Actors are actors; they put on the psychic clothing of people who do not exist (or who only half-resemble actual, living people). I understand Billy Eichner's frustration--but, also, I think that Moore, Cumberbatch, and Heath Ledger are all better actors than Billy Eichner.

It's interesting and daring that Eichner's character doesn't have standard roadblocks to love; he is not enmeshed in a difficult family situation, and he isn't taunted (for his gayness) on the streets of New York. The character's problem is just that he's a bit of an asshole. He meets someone kind who seems to enjoy the asshole behavior (for reasons that remain mysterious to me) -- but, eventually, the stridency becomes too much. But, then, growing occurs; learning occurs.

One interesting idea in the film is that "masculinity" can become a problem. Eichner becomes convinced that his boyfriend is drawn to a more "basic" guy from the heartland -- and Eichner isn't completely wrong. The tension around this third character is fun to observe. (That said, if you're going to make a film for gay NY audiences, at least take the time to make IFC's interior match with IFC's exterior. We all know what the inside of IFC looks like, thanks.)

Maybe I'm just envious of Billy Eichner, who takes some big swings. This movie gave me things to think about.

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