The Lost Language of Cranes

In an age before "Will and Grace" that few people born after 2000 will understand, the "Lost Language of the Cranes" deals with the decision whether or not to come out of the closet as gay, given the ramifications and potential hostility from family, friends and society as a whole. The film centers around a family, namely its patriarch, who from the very beginning is revealed as a closet homosexual. From the interactions with his wife and son, we see there is an underlying, unspoken tension between all the characters in typical British "stiff upper lip" fashion. When the son comes out to his parents, neither take the news particularly well. As the story progresses, his mother comes to a kind of detente, while his father eerily appears to attempt to relive his youth through his son. The brilliance of this story is the inter-working theme of communication throughout, and how sometimes someone is trying to tell you something important in every way possible...except verbally. I seriously don't understand why this has not become a cult classic, especially given the time in which it was produced, as even today it is miles ahead of most gay cinema around.

The film opens with a shot of cranes. Jerene Parks (Cathy Tyson) is a Phd student who is researching the language development of a pair of twins. They had their own way of communicating before social workers forced them to learn English.

Philip (Angus MacFadyen) is a young gay man with an American boyfriend Elliot (Corey Parker.) His father Owen (Brian Cox) is a university lecturer married to Rose (Eileen Atkins) a literary editor who need to find a new home soon. Their landlord wants his flat back. It is a sign of shaky foundations.

Owen is a closet gay man who visits gay porn cinemas. When Philip finally comes out to his parents, it stirs something in Owen. He wants to learn from his son, the language of gay people. The signals of spotting a gay man. Owen also wants to come out of the closet to his wife, who already disapproves of Philip's sexuality.

Directed by Nigel Finch. The film came out when homophobia was rife from the then Tory government. Brian Cox felt the movie had something important to say when asked why he took the role. It is about a man who learns the need to be honest to himself and to his family.

For actor Angus MacFadyen, now better known on US television, this was one of his first roles. Looking back at it now, the movie has several gay actors. Ben Daniels, John Schlesinger, Frank Middlemass.

Made for the BBC Screen 2 strand. This is a low key but important film in 90s queer cinema.

I read the book way back in the 80s and I had heard it had been made into a movie. But it was only recently that I decided to look for it on the internet -- and voilà -- it was still there, just about alive. Yes, the film seems a little jaded after all these years, but I think it's a classic. Set in London in the 90s, it's about an intellectual middle class family (mother is a book editor, father a university teacher, son is (I think) a writer). The story was novel enough when the book came out. It was about a son coming out to his parents, thereby creating turmoil in the life of his father, who has been a closet gay all his life, furtively setting it off in porno theaters. The son's openly gay lifestyle is contrasted with the furtive lifestyle of the father. The best part of the movie and book, is the time the author and director gives to exploring the feelings of outrage of the mother. This is not a feel-good kind of movie but it will stay with you for a long time after you've seen it.

The less I say about this, the better. I will just say that it is powerful, touching and moved by two extremely powerful performances by Brian Cox and Eileen Atkins, that, had this been a feature film, probably would have easily taken the BAFTA and would have had a strong chance at the Oscars.

Don't expect safe filmmaking or themes, it's a hidden treasure. Whether you like it or not in the end, for sure it won't let you indifferent. One of my favorite TV-Movies of all time, and one that should have been released theatrically. Of noting, also, John Schlesinger making a cameo appearance (which hints how important the film themes are, so Schlesinger would get in front of the cameras for a small role, hopefully raising some extra attention to the film).

Philip Benjamin is ready to come out to his parents, Owen and Rose, little knowing that his father is very much in the closet.

It's something of a groundbreaking drama, another hard hitting, thought provoking Screen Two installment, worth remembering that so called 'gay' storylines just weren't commonplace.

Initially, I thought it was going to be Philip's story, but it is as much Owen's story, it shifts when Philip comes out, it sparks something in his dad, it's a big moment.

The coming out scene was incredible, Cox's reaction was superbly played out, the acting was terrific all round, Eileen Atkins very much at the top of her game, and an excellent performance from Angus Macfadyen.

Times really have changed so much, Rose's reaction may appear frosty and bigoted, but I'm not sure if her vitriol is fully aimed at her son, I think some is aimed at her husband, because deep down, she knew something was off.

It's explicit at times, so expect some full frontal male nudity, but there's nothing gratuitous.

Some amazing music to keep a listen out for, The KLF!

Why does The BBC never show this, we have had several LGBTQ evenings and weekends, to my knowledge this hasn't been shown as part of it, which is a shame, it's a quality drama.

9/10.