Juntos para siempre

I saw this film one night on my local PBS station not knowing what it was about. When the film opens on a crowded disco soundtracked Fire Island (1980) and I realized it was a gay themed film I was about to turn it off being a hetero male, I figured nothing here to relate too. WRONG. I stuck with the film and probably have to rate this as one of my top 10 movies ever. WOW did this film floor me! It follows a group of gay friends and lovers (and a hetero gal pal)through the AIDS plagued 80's decade. This film is truly written with insight and compassion. I found all the characters interesting and realistic with the actors portraying them excellently as well (especially Campbell Scott and Bruce Davidson). The scene with Davidson bringing his lover to his death is heartfelt and emotional but the scene at the end with the 3 survivors walking now on a silent deserted Fire Island beach as all their friends(and others) who died from AIDS milling about as they remembered them brought a lot of tears to my eyes. It is how all of us as humans try to remember those we love who have passed. I recommend this movie to all people both gay and straight because it is a film that transcends these labels and speaks to us as just humans,all in this mystery called life, as one.

Longtime Companion chronicles the lives of a group of gay men during the 1980s. The focus of the film is AIDS, unknown to the men when the film opens in 1981, but by the end of the story in 1989, it has become the central defining event in the lives of the survivors. Shot in almost documentary style the story is told almost matter-of-factly. But the reality of the lives of the men in the story is not matter-of-fact; they are dying and dying in the prime of their lives. It's heart-rending. In this, the movie succeeds very well, raising awareness of the effects of AIDS, and putting a human face to its victims.

I was a physician in New York City from 1989 until 1992, and saw a tremendous number of people with AIDS. I feel that this movie, although it may appear to be dated, is an excellent portrayl of events that were all too common at that time. It gives a good sense of the confusion, misinformation, sense of being lost, and of not knowing what to do for those suffering and for their friends and companions. The actors did an excellent job in showing this. I believe that this movie is still important and merits being shown often.

i bought the DVD and watched it the other night. cried like a baby. i remember the fairly gay crowd i saw it with originally in the movie theater. two scenes are especially going to stay in my mind forever. the ICU scene and the bedroom scene with Bruce Davison telling someone that its okay and let go. i can believe why he was nominated for an Oscar, i am amazed that he didn't win. does anyone remember who did??

The film faithfully depicts an era of gay life that shocked some people and was applauded by others. its frankness was one of its best features. it was not a soap opera but a slice of real life, both joyous and tragic. as thousands still die every year, apparently a lot of people missed the point. it had no apologies and its many relationships: brother and sister, partner and partner, friend and friend are as vital today as then. gay in those days was based on sexual experimentation, it is unfortunate that the results were/are so deadly. i really suggest young people today find this film and pay attention. and if you haven't seen this, rent it/buy it/watch it. you won't soon forget it.

The title is the newspaper obituary euphemism for a gay lover, and yet another discreet but frustrating reminder of how mainstream heterosexual society avoids confronting the AIDS epidemic. In an effort perhaps to offset public ignorance, Norman René's film of the same name almost resembles an AIDS awareness primer, dramatizing the deadly progress of the disease through the gay community since the summer of 1981, when 'safe sex' merely meant anything goes, but don't get caught. Like other American Playhouse productions the film is simple, unpretentious, and no less rewarding for being so straightforward. René and writer Craig Lucas have wisely resisted the temptation to make a 'Love Story'-style terminal illness melodrama, concentrating instead on the bittersweet pain and bravery of awkward hospital visitations and quiet deathbed encounters. Only the forced optimism of the final daydream rings false, unavoidably since the epidemic itself (still) has yet to be resolved by anything resembling a cure. The balance of the film is simply too honest to support such sentimental wish-fulfillment fantasies.