Schrille Nächte in New York

"THE VELOCITY OF GARY" starts out promising and quite cinematic with hunky Thomas Jane as daylight cowboy Gary (not his real name) showering in one of New York's open hydrants. Montage of Gary (n.h.r.n) in every cinematographer's NY tribute from Bowery to Brooklyn, which makes Gary (nhrn) one busy cruiser.

Next up, Gary (nhrn) reluctantly comes to the aid of a young drag queen whose straight off the bus from one of the square states (swinging her suitcase and grinning as if she's just landed in the Greenwich Village of the musical "Wonderful Town" not the real-life scaresville of today) and is promptly set upon by gay bashers. Suffice it to say, the kid learns that interesting people do indeed live on Christopher Street.

Unfortunately, this collection of downtown losers is of far more interest to themselves than us. Under-developed and preening constantly, they speak in bad poetic jargon (the film's stage roots showing terribly) and manage to grate on our nerves in a New York minute. Selma Hayek (real name) and Jane (real name) are both oddly drawn to super-loser bisexual idiot played by Vincent D'Onofrio (who should change his name after helping produce this mess). All need a haircut in the worst way, making their adventure look like a 60's flashback when it's anything but. Everything goes downhill after the first flash forward and never recovers.

"The Velocity of Gary" is lacks both velocity and veracity. You're better off not having known their real names.

What a pleasure it is to discover a little film which presents little pieces of your own life story. This is a film that I imagine many will question what the hell is the point. It feels like an exploratory independent film that doesn't try to be very clever or cool, just an ordinary story with plenty of room for randomness. As it fits in neither the energetic class of cinema characterized by Tarantino and Fellini, nor the understated class a la Hou Hsiao-Hsien and Gus Van Sant, it won't impress the entertainment seekers and may not work for the purists. That said, I personally liked it more than not.

The great Michelangelo Antonioni said that films are not to be understood; they are to be experienced. As a film VELOCITY may not score high, but viewing it was an experience which I will not forget soon. The scenes with the deaf boy in drag were simply poignant and memorable. I'll never forget the priceless look on his face when his wig was pulled away by the rascals. It was a look which captured a thousand unspoken words that few, if any, Hollywood star would be capable of replicating. His pursuit of Gary brings back traces of my own memory. For me, this character was the primary saving grace of the film; his "acting" was superb, so heart-felt that I'm not sure if it's acting or reality--probably a hybrid of both.

In summary, VELOCITY is a film where some fragments are better than the whole package. Whether or not you can enjoy the film probably depends on how much your life experience draws you to the characters.

Why does Gary love the loser Bi porno star with AIDS? Why does loser ex-waitres who is pregnant with the loser Bi porno star with AIDS love him? And why does she put up with Gary? What does the Velocity of Gary mean anyway? A slice of life? Perhaps. More likely you will find this trite film a seedy half-baked poetic play of a threeway without a background, cause or reason for us to care about these characters instead we are force fed fancy playwright words written solely for a pat ending we've seen a million times. And better.

Dan Ireland's film The Velocity of Gary* (*Not his real name)is both moving and involving, painting a honest depiction of unconventional love in an almost abstract, fantastical way. I tracked this film down (not an easy task here in the UK) as a loyal follower of the great Thomas Jane and was not disappointed when I finally got to watch it. Jane plays Gary, a hustler in New York who falls under the loving wing of Valentino, an adult film actor played by Vincent D' Onofrio. Both have an immediate attraction to one another (sexual? paternal, in Valentino's case?) but things are complicated by the presence of Valentino's shrieking girlfriend Mary Carmen (Salma Hayek). A brutal yet genuinely loving emotional triangle is formed, then tragedy strikes as Valentino is diagnosed with AIDS. Adapted by James Still from his own one man play, this is raw, passionate stuff, and not to everyone's taste. But to those who want to taste something a little different, I highly recommend the picture. Two factors keep the interest throughout: 1) Jane. His performance is honest, brave and utterly believable. He has to be the best working young actor in American film at this point in time. 2) The films original score by Peitor Angell is as moving as its source material. The films theme (though it only appears during the opening credits and during a festival some time later) is a beautiful piece of film composition. This is an intimate little flick which, whilst never exactly 'feel-good', highlights the gift of life and making the most of it.

I just watched the movie. And I can't understand the bad critics, because it is a sweet and interesting movie. The Actors doing a pretty good job. Especially Thomas Jane. He was part of the reason why I rented it in the first place. His performance was stunning.