The Fruit Machine

After viewing "Silence Like Glass", I was fascinated by the strength of Mr. Payne's performance and wanted to discover his "film roots". The closest I could get to, (until I saw "Privates on Parade"), was "The Fruit Machine", or as its known by me, "Wonderland". Mr. Payne's "Echo" leaves ripples in his wake...

No plot spoilers. I saw this on tv when it was made,1988? Younger viewers might be surprised that Channel 4 used to make some great dramas as well as some awful ones. Now it shows reality crap and horse racing.

I recall liking and being a bit shocked when I saw this. There is not a lot to the story but it is a trip back to the 1980s I suppose. I had looked for a long time for the dvd and am a bit disappointed that I did not enjoy watching the film more than I did

Reminds me of my own youth in similar circumstances and reminds me of the scrapes I got in to with my late best friend, in the late 80s in the North of England. Ignore the stereotypes...sometimes the stereotypes actually exist, you know. Brilliant.

The characters are well drawn and the dream sequences add some mysticism. Whilst the plot is a little crazy its a genuine,sad and heartwarming tragedy, which in view of the lack of a big Hollywood style budget, for me at least, is something that cheap British films excel at. Well done. Its s ashame most of the young actors did not develop their careers, but looking back on such films it only adds to the importance of it for me.

This odd movie tells the tale of two gay boys in the UK who witness a murder and are then pursued by the killer who wants to leave no witnesses.

Eddie is somewhat effeminate and likes to spend his time with his mother watching old romantic movies on the telly and retouching her roots while she tells him tales of how she was almost a star. Eddie is a dreamer and sometimes even has visions. He also has an abusive Dad who doesn't want a `poofter' for a son.

Michael is a beautiful rent boy living on the streets after escaping from a youth detention center. Everyone wants him but it's for only one thing.

Somehow the two boys have met up and become best mates. When Eddie decides to run away from home and the abusive father, Michael swears to take care of him. And so the boys begin their adventures, first in gay nightclub called the Fruit Machine and then later in Brighton accompanied by a retiring opera tenor. In Brighton, Eddie visits Wonderland a seaside aquarium with a trained dolphin show. There he meets a girl animal rights advocate and Eddie becomes obsessed with setting the dolphins free. Meanwhile Michael is `paying the rent' with the tenor using the only currency that he has. Unfortunately the killer has followed them to Brighton.

There is a very touching love story here between the two boys and I wanted to know more. How did they meet and become friends? What have they said to each other about their mutual attraction? One can intuit a lot from what is shown but there could have been so much more. Is Eddie still a virgin? How much does he know about how Michael supports himself? Has he never made an attempt to get physical with Michael because he knows?

This movie seemed to me to be two movies uncomfortably joined into one. The whole `pursued by a killer' plotline seemed to have been grafted onto the main story, perhaps to make it more palatable to the general public and hence more commercial. As far as I'm concerned they needn't have bothered. The story of the relationship between the two boys was more than enough and the sporadic appearance of the killer was a jolting distraction to the story I was really interested in.

The film "Wonderland" (aka "The FruitMachine") is a surprisingly dippy, imaginative romp involving two gay teenaged boys who happen to witness a gangland murder and are forced to flee Liverpool for Brighton. The film takes many inventive turns, several of which involve Eddie's dream lover, a man-dolphin hybrid who actually appears at crucial moments in the film to save Eddie and his partner, Michael. There are many subplots and colorful supporting characters, and the ending, albeit sad, is inevitable. It's worth it if only for the dance sequence at the Fruit Machine, a gay showbar in Liverpool, in which Michael competes for thirty quid. His dance is both erotic and touchingly naive. Both boys, Emile Charles and Tony Forsyth, should have had big careers in film. Apart from one distracting editing lapse that blunts the finale, this is a superior film, in that it refuses to indulge in stereotyping and doesn't condescend to its lead characters.