Die erste Liebe

This film is about two teenagers in a deprived neighbourhood coming out and falling for each other.

Character development is excellent in the movie. The impoverished neighbourhood and the rough people are shown right from the beginning. Ste is an abused teenager, and the mere sight of him evokes sympathy. Jamie's courage and insistence on Ste is to be admired. This film tells the fear and confusion of coming out. A particularly memorable scene is when Ste cries in next to Sandra in her apartment. He cries with his face turned away from Sandra, with his hands covering one side of his face. To me, it is such a powerful scene, because it sums up all the confusion, shame, fear and hurt Ste must have felt in his premature involuntary coming out. The film is warm and affecting. I am glad about the happy ending, which is much needed to bring gay teenagers hope and comfort.

Gay or straight, this is one of the finest movies ever made about self discovery and teenage love. Albeit the end is a little wishful and optimistic, the characters and situations are perfectly developed and realized, ringing true in almost every scene. This movie makes me smile on every level...from the way the two boys discover their affection for one another, the wonderful comedy relief from the next door neighbor Leah (and her relationship with the entire tenement population), and the perfect choice of soundtrack music from Mama Cass that, at times, seems written specifically for certain scenes and works on both a nostalgic and familiarity level. This movie gets better with every viewing...and I'd love to see what happened to each of the characters in a sequal.

This movie is, without a doubt, very personal to all gay men and women who came out during their youth and a favorite of all of my friends, both gay and straight.

Once again, I am overwhelmed by the excellence of British film-making & acting. I truly bow to the British honing of the craft of acting, which is brilliantly presented in this film. Storyline aside, the acting of the mother "Sandra" is superb; you feel every emotion on her face as she struggles to make a better life for herself and her son, as well as accept her son's growing awareness of his own sexuality. Remarkably, she is my favourite character in this film, notwithstanding the performances of the 2 boys, who are superb. The boyfriend, Tony, is also wonderful as a supporting character. My favourite scenes are actually sequential: first, the shot of Sandra following the boys in a cab, as the shock & turmoil of her emotions is beautifully portrayed during this scene; second, the followup scene with the boys in the park, probably, for me, the most wonderfully innocent, beautiful and intimate scene in the film. I'm probably being silly; every scene in this beautiful film is a treasure and at triumph, for anyone who's ever been in love. I know I will treasure this film always.

BEAUTIFUL THING is a unique drama - presenting an adolescent gay couple as complex individuals, within a greater setting (an English housing project) that also captures a bit of a slice-of-life feel. I like the working-class setting, and wasn't bothered by the accents - as an American it required me to pay attention - a good thing as there are many subtle details that make this a very rich drama.

It does tug at the heartstrings a bit, and it lays on the cuteness a bit more than it should, but I loved the characters anyway, and the setting and context (very nicely detailed film-making) keeps those minor gripes minor.

There have been so many cynical or clichéd gay dramas released during the last decade or two, especially in the US (gay film from elsewhere in the world often seems so much more fresh and lifelike) - in many ways this film was (and remains) a real breath of fresh air.

A film about the gay working class runs the risk of portraying two sets of stereotypes. But 'Beautiful Thing', Hettie MacDonald's sweet little movie, is lifted above mere cliché through the quirky humanity of its characters, and the atmospheric cinematography of the ugly-beautiful London overspill estate of Thamesmead. Unlike many "gay" films, it manages to display sympathy for its characters without becoming unduly celebratory (a tone that rarely makes for good cinema). In fact, it has something of the feel of a Mike Leigh film, although it's a lower key affair than most of Leigh's movies: a little less intense, a little less depressing, and a just little less funny. But that is, of course, to judge it against the highest of standards. In it's own right, it's a modest, but distinctive and highly likable film.