Stonewall

this is one of the great low-budget "queer cinema" triumphs of the 90s'....

contrary to the above commenter, i do think the details are right... and yes, the cops were homophobic.. they used arcane, outdated laws to close gay bars.. have u read the book "stonewall"? they make it very clear that lots of bars - gay and str8 - were "illegal".. only the gay ones were shut down..

i was very impressed by the right-on details in the production design..

"Stonewall" is a fictional but very inspired and moving account of events leading up to and culminating in the famous gay riots in NYC. Don't be fooled by the packaging...this is in no way a fluffy work in the vein of "Can't Stop the Music." It is deeply moving, very nearly tragic as it depicts the complex stressful lives of several characters. Fred Weller is marvelous as the genuine and untried hick Matty Dean who can't accept the comforts of compromise when he knows most of his compatriots are unjustly suffering. Guillermo Diaz as the drag queen La Miranda, who resembles Connie Francis when made-up, is outstanding as Matty's insecure mentor and eventual mate. Hopefully, the rampant police brutality against LGBT persons will be alleviated after the events depicted. I have heard several horrifying stories from a few who were arrested and their subsequent brutal treatment in jails. This film is so well-acted and paced that it should be seen by anyone, gay or straight, who has any interest in basic human rights issues. It will certainly make you think, and doubtless leave a lasting impression and perhaps not a little enlightenment.

While Stonewall hits upon some facts about the Stonewall Riots, it is pretty much based upon fiction. Much of this movie is apocryphal. For example, the who idea that the Stonewall Riots were somehow influenced by Judy Garland's death was suggested by the homophobic police-- as a bigoted joke.

New research shows that the Stonewall Riots were started by what most people would classify as sissies from nearby bars after hearing that police were beating up Stonewall patrons. There weren't very many drag queens allowed in the Stonewall.

The police who conducted the bust were not from the precinct that was in charge of the area; but a separate group dealing with morals violation. In fact, once barricaded inside the bar, they called for help, but the Sixth Precint wouldn't help, having already been paid off by the mob who owned the bar.

I have a great deal of admiration for this engaging effort to explain the roots of the modern gay rights movement, produced on a shoe-string by a director with an admirable sense of style, pacing, and resourcefulness. Though filtered through a distinctly British class-consciousness, it does a highly respectable job of catching the main trends in gay America from my not-quite-misspent youth.

Furthermore, it is candidly presented as a subjective, fictional account, mooting complaints like "the bus is too old," "no New York apartment is that big" and "the Stonewall bar never looked that clean."

Nonetheless, one small detail and one large item are egregiously wrong. The detail is the rather elementary fact that the Stonewall was never licensed; it was a "private" mob-run club. It was raided not because all cops are homophobes but because, in the absence of official licensing, gay bars were, in every sense, illegal. The scenes where Stonewall employees display great care about the liquor laws are ridiculous, since the bar operated outside the law.

The larger item is the failure to capture the sense of exhilaration that swept throught the country in 1969. This was the year men walked on the moon, the year of Woodstock, the year an X-rated gay-themed film ("Midnight Cowboy") won the "Best Picture" Oscar, and (biggest miracle of all to us New Yorkers) the year the Mets, long "lovable losers," won the World Series. Anything was possible, and gay people joined the party with enthusiasm.

The major value of the film Stonewall is to remind all of us just what gay people dealt with before a big rebellion took place in the last week of June in 1969. The film is based on a novel by historian Martin Duberman and the director Nigel Finch died before his testament of the Stonewall Rebellion could be seen and appreciated.

A couple of love stories are involved here. Country boy Frederick Weller arrives from Kansas and he's hoping that New York City will be more accepting of him. Or at least he'll find a community of sorts. That part of the story hasn't ever changed. He's caught between young closeted gay lawyer Brendan Corbalis and professional drag queen Guillermo Diaz.

The second love story is between the owner of the Stonewall Inn and a drag queen played by Bruce MacVittie and Duane Boutte. MacVittie has lived all his life with all the insane rules placed on same sex contact by society and its criminal code against sodomy. Boutte is ready to rebel, but MacVittie counsels go slow it's the way of things in this world. Still he's having just about enough of it.

Weller is a rebellious sort, he gets caught in a bar raid the first night he's in New York. Apparently the concept of freedom in America doesn't extend to those who love of the same sex. He finds the Mattachine Society with their button down ways and it ain't for him. But in a way they do fire his revolutionary ardor.

The Mattachine Society comes in for quite a beating in Stonewall. They were a radical concept in their idea when the mere idea of protesting these laws was radical. In a scene laced with humor and irony Weller is with a group with accompanying press who challenges the law against serving liquor to known homosexuals. Yes there indeed was such a law. The only place that enforces the ordinance is a gay bar because they're afraid of police entrapment.

Of course the end of the film is the riot at the Stonewall Inn which sparked a movement. The unbelievable but true twist on events is the cops including the NYPD's crack tactical police unit equipped for riots retreating into a newly emptied Stonewall Inn for their own safety is truly a sight to behold.

This is a fine film which captures the spirit of that night when it wasn't button down businessmen and lawyers, but rebels in high heels who changed America and the world.