Throwback Thursday: Looking from the window above ...

Last week's episode of Looking ended with Patrick and Kevin tentatively exchanging I Love Yous with each other. The screen fades to black as the synthesizer sounds of Yazoo's Only You begins. It's the type of sweet 80s pop that usually resonates for me, hearkening back to my childhood. But for some reason, this song felt particularly special. What did this song remind me of? What memories did it trigger? It took a few days for me to work it out, but finally, it came back to me:

 

This was one of the most perfect moments I've ever witnessed on television. Sweet as the kiss is in isolation, the impact of the kiss increases because of the drawn out sexual tension of the previous two seasons, as well as because of the fact that it was the warmest moment of an otherwise (brilliantly) uncomfortable show. It just warms my heart.

I've been enjoying this season of Looking - it just gets better and better - but it's not there yet. Let's hope the final episodes bring everything to a climax.

Throwback Thursday/Thursday Thighs

Robin Williams is still on my mind ...

Last week in LCC - 27 July - 2 August 2014

The Grand Budapest Hotel

I finally had the chance to see the Grand Budapest Hotel on the weekend as part of a Meetup.com ... meetup. (These are meant to be socialising events to connect people who are new to a city. Lo and behold, I ended up in a conversation with 5 other Australians. We're everywhere!)

I can't say I'm a Wes Anderson agnostic - I definitely like his style and was very moved by The Royal Tenenbaums and Moonrise Kingdom - I just don't think his films are particularly great or anything. I get that his films are beautiful to look at, that there's a meticulous detail and love of spaces, and that there can be a poignancy to the nostalgia of the lost worlds he recreates. But for me, his hermetically sealed worlds can be a bit too cutesy and lacking in depth to become great. That was definitely the case with the Grand Budapest Hotel. Nothing more than a B+ for me.

Demolition Man and Divine Secrets of the Ya-Ya Sisterhood

Perhaps as part of celebrating Sandra Bullock's 50th birthday, I managed to catch these two of her older films on cable throughout the week. Sandy didn't have much to do in Ya-ya except be the straight centre for the craziness of the Maggie Smith and Ellen Burstyn show. But in Demolition Man, she just steals the movie with her comic timing and screen-presence. You could say that Sandra's somewhat robotic acting skills are perfect for this dystopic world, but I think she performs the role with just the right balance of android-ness and sassy personality. She's also helped by a rather funny script: "He's finally matched his meet. You really licked his ass."

Archer

I've finally started watching this cartoon and just needed to pose the question: is it odd to be mildly turned on by an animated character? I guess if it's okay for femme fatales, Sailor Moon and Disney Princes, then it's okay for this spy spoof. Apart from Archer's fine muscles, this cartoon also has some finely drawn characters, verging on caricature, but entertaining none-the-less. I can listen to Jessica Walters throw barbs all day long.

Last Week in LCC - 20-27 July

Sex and the City - Season 6
Whenever my boyfriend is away for work, I revel in the space and revert to some old habits of singledom - eating whatever I want, playing music at loud volumes and binge-watching television shows. After a couple of nights though, I tend to have enough of the single life and desire some companionship again. That's when I extend the binge watching to catch up with the fabulous ladies of Sex and the City. Some quick thoughts:

• Carrie's issues with Paris weren't really because of the Russian, or at least he wasn't completely to blame. One thing I've learned as a trailing spouse is that you have to decide to move for yourself as much as for your significant other. Where were her plans for her own personal growth? For her own career? Perhaps it was because of Carrie's usual carelessness, or perhaps it was poor writing (or both), but it was clear that her heart wasn't in Paris so the whole final premise was quite weak. It was just a distraction to get her away from New York City and create some tension among her friends, speaking of which ...
• I was struck again by how much the show depended on the work of Kim Cattrall, Cynthia Nixon and Kristin Davis. All 3 of them knocked it out of the park with their respective storylines (cancer, moving to Brooklyn, and adoption issues), and the scenes where they were together (e.g. at Miranda's wedding and learning about Samantha's diagnosis, and in the final pre-Paris scene) were quite magical.
• I miss Sunday brunch.

Dawn of the Planet of the Apes
Spurred by the quality of the previous film and the positive word of mouth, we saw Dawn of the Planet of the Apes and were ... quite impressed. No, it's not the best film of the year by any stretch - its characterisations were too broad but I give it kudos for its humour, its CGI, its thoroughly consistent anti-gun message, and it giving Keri Russell a chance, through however small and undeveloped a role, to grace us with her strong yet brittle screen presence. Unfortunately I also fell victim to two of Thailand cinema's greatest drawbacks - the temptation of buying the smallest drink available that happened to be 1.5 litres of coke, and failure to bring warm clothing for the cinema's relentlessly cold air conditioning. I was shivering a bit, not from the suspense of the movie, but from my bursting bladder and lowered temperature.

House of Cards - Season 1
We finally started House of Cards, having not done so out of a lack of time and a fear of getting sucked in. That fear was warranted, because we powered through 5 episodes, which is a lot for us. Kevin Spacey was his usual brilliant self and Robin Wright is the show's secret weapon. I was also glad to see Kathleen Chalfant in there as the Washington Herald's owner - I've always had a soft spot for her ever since The Guardian. I can't wait to see where this goes (and can't believe there is only 21 episodes left until I have to wait for season 3).

Cries and Whispers
This is one film I may never want to see again ... more thoughts in tomorrow's HMWYBS post.

The Normal Heart: 5 best scenes

Apologies - I've been sitting on this post about the Normal Heart for about a month now, and I thought I'd better post it before Pride Month ends. Ned would surely have screamed at me throughout the month for not being passionate enough, and in many ways, he would be right. Work and field trips has taken up most of my time this June, but equally I think I have been waiting to feel passionate enough to write something about this film. But I haven't. Despite the rage in Larry Kramer's original play (which feels like a tightly wound, claustrophobic tragedy) and Ryan Murphy's usual provocative handling of subject matter, The Normal Heart is in many ways too restrained a piece that relies too much on screaming and shouting monologues (more on that below). It also attempts to open up the story by providing additional scenes such as the opening scenes on Fire Island, and Ned's proposal at the docks. While the additional scenes are affecting, such scenes distract from the tense anger of the film, and the film becomes a rather middle of the road (shouty) drama rather than the angry play of its source material.

But, despite its flaws, I'd rather focus more of the positive parts of the film. The following are the 5 strongest moments of the film, These scenes shows how it's not difficult to be affected by the end of the film, due to the strong script and performances by the cast.

5. Final fight between Ned and Felix

Ned screaming and throwing food at his dying lover is one of the more distressing scenes in this movie. For the majority of the movie, I never fully believed Mark Ruffalo as the angry agitator Ned Weeks/Larry Kramer, partially because he will always be the damaged but vulnerable cinematic brothers Terry from You Can Count on Me and Paul from The Kids Are All Right (I think this will be a future blog post), but also because I couldn't believe an activist could be so unstrategic in his continuous agitation tactics. I was sick of all his screaming throughout the film, and I could not have dealt with it day in day out, especially in meetings with people where tact and diplomacy is required - I fully supported his dumping. But here, Ned's anger and frustration in the context of the personal is organic, believable, and ultimately devastating. His slow floor crawl back in apology show glimpses of that naked vulnerability that is the best thing about Mark Ruffalo. I don't think I ever fully forgave Ned for this outburst, but it surely made me cry.

4. Tommy's funeral speech

I always find it heartbreaking when the most reserved and composed of us break down. There are situations where even the most optimistic of us break down. In this scene, Jim Parsons lets some anger and frustration out as he can't keep it inside any longer.

3. Dr Death's monologue

Another powerful example of fury and frustration that can no longer be hidden. With a supporting performance by Julia Robert's trademarked forehead vein.

2. Bed-side wedding

This is more Mark Ruffalo's strong point - teary-eyed vulnerability. And this is Matt Bomer at his most raw and beautiful. Forget his perfectly defined body (okay fine, don't forget it - how could anyone forget naked Matt Bomer?). It's those clear expressive eyes, ever present and warm on his face, whether chiseled or hollow, that makes the performance. If you weren't already crying, this is the scene that should do it.

1. Mickey's breakdown

Thanks Joe Mantello. This is the part of the movie where my relatively silent sniffling went into full hyperventilating ugly-cry mode. This isn't the breakdown of the always angry agitator Ned or the charismatic leader Bruce, it's the breakdown of the quiet everyman, neither leader nor villain - just the average dedicated worker without whose dedication and assistance no work can get done. The average worker who works because he believes it will make a difference, and breaks down when he can no longer try anymore in the face of unreasonable, hateful and ignorant inaction. I think this is the moment that would connect with the majority of the people and even the activists who watch this film. Most activists aren't the Neds or Bruces of the world - they are more likely the Mickey's and Tommy's. It's their dedication, love and compassion that powers the normal hearts around the world.

Mad Men

The mid-season finale of Mad Men aired last week and while I've been attempting to gather my thoughts, a bunch of recaps have analysed the episode so much better than I could have. Vulture has compiled a round up of the best Mad Men Mid Season Recaps - I'd also include The Film Experience's Mad Men @ the Movies post in that list for a bit of a cinematic touch. But the best of the bunch and my favourite has always been Tom & Lorenzo's costume designed-centred Mad Style series, and the one for 'Waterloo' is no exception.

My contribution to the conversation is a more literary one. I, like many others, have always thought Don Draper had certain Gatsby-esque qualities to him - most notably the self-made identity from poor country beginnings, although it's worth noting that Don is more the creator of the images of the American Dream that Gatsby so foolishly follows.

'Waterloo' brought my thoughts right back to the Great Gatsby. The episode was structured around man's first landing on the moon and when it finally happened, it was one of the best moments of a season. Families (new and old, traditional and non-traditional) sat around watching the moon landing, in awe of mankind's technological achievements and excited for this new frontier full of endless possibilities:

This sense of wonder and possibility parallel one of the most beautiful passages in the Great Gatsby:

And as the moon rose higher the inessential houses began to melt away until gradually I became aware of the old island here that flowered once for Dutch sailors’ eyes — a fresh, green breast of the new world. Its vanished trees, the trees that had made way for Gatsby’s house, had once pandered in whispers to the last and greatest of all human dreams; for a transitory enchanted moment man must have held his breath in the presence of this continent, compelled into an aesthetic contemplation he neither understood nor desired, face to face for the last time in history with something commensurate to his capacity for wonder.

How great would it have been, if he really had thought that the discovery of America was the last time in history mankind was 'something commensurate to his capacity for wonder', for F Scott Fitzerald had witnessed the moon landing. Amidst all the doom and gloom in life, it's so affirming to be reminded of potential for the great transcendental moments. The capacity of mankind to pursue its dreams is such a romantic ideal that we keep at it when we know these dreams can and do get corrupted. Perhaps one day in the future, there will be a widespread renewable energy solution, a cure for HIV and cancer, a more sustainable and peaceful world.

Can this hope apply to Mad Men and its characters?

"Do you have time to improve your life?" asked Freddie at the beginning of this season. For all these damaged characters, it seems they're half way there in June 1969. Perhaps energized by this new frontier of endless possibilities, the characters were embarking into better versions of themselves - Peggy landing the Burger Chef account with a touching reference to her surrogate son, Sally choosing the astronaut instead of the smoking hot athlete, Don and Megan amicably breaking up, Roger stepping up to become a leader. And Don, most miraculously of all, acknowledging all the people who matter most to him and selflessly helping them in some way. Perhaps Don, after his first amicable breakup, his long awaited reconciliation with Sally and Peggy, and a posthumous reminder that the best things in life are free, escape the fate of Jay Gatsby, who was deluded by a dream that had already passed him by and faced rejection once his true identity was uncovered.

However, with the ambiguous final shot of him resting on a desk, and this being Mad Men, we really have no idea. The possibilities of how this fine series will end are endless and like the rest of the world, I'll be sitting by my screen awaiting the next 7 episodes with breathless anticipation.

The Death of Girls

The season 3 finale of Girls aired this week and like its fellow HBO stablemate Looking, it went out with a bang after a midseason stunner (Beach House). While there was so much unpleasantness in the first 5 episodes, by the end, it was a reasonably interesting and entertaining season - not least because the finale provided interesting closure to the storylines this year.

Death, or at least the end of things, seemed to be hover over the characters this season. From the deaths of Hannah's editor and grandmother, Flo, and the near death of Bedelia, to the end of the Girl's relationships after the amazing Beach House episode, death and destruction was everywhere.

This was also a season where their hopes kept getting dashed. For all the characters, all of their personal and professional relationships that they were building throughout the season, fizzled by the end. But as always, when one door closes, another opens. Of the supporting characters, Ray had to get his heart broken before he could be more grown up. Flo had to be on her deathbed to bring her family together. And  Bedelia had to swallow the pills before she knew she didn't want to die.

And for our girls? Of course there's another season to go, so they can't learn all their lessons yet, but the show is putting them through pain to get there - Shoshanna realising that her plans of sex and study couldn't work out, Jessa getting kicked out of rehab and losing those around her, and Marnie going through humiliations after humiliation, constantly seeking validation from men. And Hannah - she had to lose her writing contract, lose her grandmother, lose her creative soul at GQ, and lose her relationship with Adam.

Have we found what we are Looking for?

Looking finished this week and the response from those who stayed with it has been quite positive. And I agree. Since the 5th episode the show has really stepped up a notch, packing quite a punch in its season finale.

Yes, the first half of the season was less interesting than the second half, but that was just the show finding its feet. And the show's relaxed style might not be the perfect fit for the initial establishing episodes. Perhaps if an episode like episode 4 had happened earlier in the series, the audience could have developed greater interest.

For me though, even if the plot is more 'boring' than others, I find it rare to have a mainstream show dedicate its entire time to gay relationships, to see gay men interacting, dating and discovering someone new. Many of us have had those discussions about our first time with a boy, coming out, sexual positions, bottom shaming, open relationships, and whether we'd want to get married if we could. And let's not forget the love for Golden Girls! For me, there's something so wonderfully affirming to see characters living and discussing these issues on screen.