The Living End

My first impression going in to see "Brokeback Mountain" when that one came out, was; "How boringly common gay love seem to be". And i thought of it being boringly common in a cinematic sense. Only rule broken in that movie was to make it possible for a large audience to have empathy with it characters without hiding the gayness of them. It worked. I salute that. And i still think that was the performance that earned Ledger his Oscar.

But Arakki does not stay within content when making his movies great (when they are). His style is widely overlooked by his "controversial" content. Even though the two are matched as should be in good art craft.

Let me just give you one example to look for. One scene, in the beginning of the movie, we see the character of Luke, who's been hustling another man, back at that mans place. Suddenly the john's wife or girlfriend appears and the acting style changes to that of badly made porn. But not only the style of acting, also the cutting. The woman and Luke never appear in the same frame and the shots of him reacting to her, could have been taken weeks apart (a common use in porn to make models appear in the same scene, although they were never on set). The woman is acting so badly, that it can only be a parody of the clichés of porn too, since, Arraki surely knows how to get good actors and know how to direct them.

Lots of other good stuff could be commented on, but let me just get back to my pronouncing it the best gay LOVE story told on screen; Even thought the character of Luke can be seen as only a projection of Jon's diagnosis as HIV positive (His way of coping with it as Scottie has to invent Madelaine in "Vertigo" facing death).... it still is a love story, sick as it may seem. And a hell of a lot closer to fulfilling what we look for in love stories, than the ones with either happy or weepy ends. This one has both and rings truer.

The cutting edge of early '90's American film includes this work by Gregg Araki, a frightfully funny, harrowing tale of two HIV positive dudes who can't stand it all, blame (then president) George Bush, and take it all on the road for a final (?) spree. The film contains the typical cute gay boys, friendly fag-hag with her own hetero issues, violence, and ridiculously corny Araki dialogue. And guess what? It somehow all works! By the end the two protagonists are likeable people with relatable feelings. The closing scene is one of the most memorable in indie cinema of the '90's.

Anyone else remember those robotic fish that you'd prod and they wagged their tails? We had one that also sang Bobby Darin's "Mack the Knife"! Here, one features occasionally, but quite amusingly, in this quite provocative drama that follows a road trip taken by "Luke" (Mike Dytri) and "Jon" (Crag Gilmore). The former guy is a gay hooker who's got by on the streets using his looks and his wits whilst contracting HIV along the way. The latter man is a journalist who has managed to arrive at the same fate - though not as a result of the same s(t)eamy existence. With nothing much left to lose, the unlikely pairing embark on a fairly hedonistic journey that pitches their two completely different personalities into a series of scenarios that ultimately, well you can guess what ends up happening. It doesn't pull it's punches this. It is gritty and sleazy and honest and illustrates well just how human beings react when faced with certainty - even if it's timeline isn't so set in stone. It's a love story, an hate story - and juggles loads of attitudinal and judgemental horrors as the two men meet homophobia and violence as they begin to rely more and more on each other (whilst simultaneously winding each other up fairly spectacularly). There's a bit of sex - nothing very graphic, and loads of ripe language - but nothing here appears gratuitous. It's a plausible road trip that Greg Araki has constructed to make us think, squirm, smile and well, endure too. It won't be for everyone, but it does remind us of how, just 20-odd years ago, AIDS was still killing people and there is a definite and engaging chemistry between the two actors charged with delivering this story of a messy and frequently anachronistic existence.

I really love Araki's 'The Doom Generation' and 'Nowhere', but it's taken me some time to finally get around to watching this, his debut. Now seeing those other two first has probably ruined 'The Living End' for me, as I can't help but compare it to them, and it lacks the energy, pop culture saturation and surreal humour that appeals to me so much. 'The Living End' is more realistic and serious, and does what it does quite well for its obvious budget limitations, but I can't say I was all that impressed.

Still Araki is a great talent, and went on to better things.

Nice to see a cameo by the delicious Mary Woronov though!

"The Living End" is definitely not for everyone. But for those who can appreciate its audaciousness and free-wheeling spirit, this film offers bountiful rewards. The two leads are very attractive and play together with remarkable compatibility. They're right in tune with the director's amoral consciousness, and act the heck out of their roles. The "home movie" look to the film contributes to its quality. To me, "The Living End" is a gem of a low budget effort, brimming with vitality and youthful vigor.