Love Is Strange

There is only one thing I didn't like about this film: the title. It's so bland. And it doesn't even have anything to do with what this film is about. It's not about a strange love affair, but about a very normal one.

Apart from that, I liked everything about 'Love is Strange'. It is a film about how people live, love, talk, help each other out, appreciate each other and sometimes work on each other's nerves. Maybe that doesn't sound too exciting, but it's enough to keep on watching, and be moved by what you see.

The film tells the story of an older couple, who are forced to leave their Manhattan apartment after one of them is fired from his teaching position. They temporarily move in with relatives and neighbours, until they have found a new place of their own. The film shows the interaction between civilized and polite people who are all perfectly willing to help each other, but nevertheless are increasingly annoyed by the uneasy situations caused by the arrangement.

Some scenes are funny in an understated way, and make you softly chuckle in your seat. Others are emotional, but never melodramatic. I think the word that best describes the general mood of the picture is 'heartfelt'. The director does a perfect job in balancing the emotions. Some scenes are very elongated and show little action, which gives an intense effect in combination with the wonderful and very prominent soundtrack consisting of piano pieces by Chopin. The music has a special meaning, because it is the music that one of the lead characters teaches his piano pupils.

The couple is gay, but that doesn't really matter. The film could just as well have been about a straight couple, with some minor script changes. But the couple fits in perfectly in the liberal, open minded, intellectual New York circles where the movie is set. (The sort of people who think it's almost impossible to survive in Poughkeepsie when you're used to Manhattan). In fact, those are exactly the same circles Woody Allen prefers for his films, and sometimes 'Love is Strange' reminded me of Allen's best films, like 'Blue Jasmine', minus the usual neurotic behaviour by the lead characters.

LOVE IS STRANGE is an interesting film, and one that will probably turn off a lot of viewers once they know what the concept is, but I thought it was a sweet portrayal of an aging couple who just happen to be gay. Alfred Molina and John Lithgow play Ben and George, a recently married couple who have been partners for 39 years. However, once Ben's employer finds out about his marriage (he is the music teacher at a Catholic school), he loses his job and the couple are forced to sell their apartment because they can't afford it anymore. In the meantime while they look for a new apartment, they have to live separately with family and friends. And therein lies the trouble: they haven't been apart in all those years of living together, and the film explores how it affects them emotionally as well as the people they stay with.

While watching this I tried to keep the title at the front of my mind at all times, but I still don't know quite how it might strictly apply. The closest thing I can come up with is George's nephew's family, who George ends up staying with. On the one hand, you have this aging couple who haven't been apart a day in their lives together who are now forced to be apart through circumstance; but then you have George's nephew and his wife who live in the same house with their son, and yet each of them feels separated from the other by the way they live their lives. George's nephew is a film producer who has long days away from home, while his wife (played by Marisa Tomei) is a writer who spends most of her time at home trying to write. And on top of that, their son keeps to himself a lot and spends most of his time with Vlad, his only friend at school. The general sense, or message, I got from the film is that it takes losing something to appreciate its true value.

Still, whatever it was all supposed to add up to I thought that the performances were excellent. I haven't seen John Lithgow and Alfred Molina this good in years, and they were very believable as a couple who had been together for so long. Marisa Tomei also did great work as George's nephew's wife. I should also mention the soundtrack composed mostly of Chopin, which I really loved. My favorite piece was the "Raindrop" prelude which plays a few times during the film, and my favorite use of it was during a private piano lesson that Ben gives to one of his students. I also appreciated the nods to Ben's religious faith, which never came into conflict with his personal life. Last, but not least, the cinematography and cityscape shots were extremely beautiful.

Still, there is one thing which lessens the film's impact in my opinion, and it has to do with the film's ending (of which I won't spoil the details). All I will say is that it feels more like an epilogue in the sense that there is a time jump (and something else) which came completely out of nowhere. It almost felt like they weren't quite sure how to wrap up the film, so they jumped ahead in an effort to give the story some closure. I didn't hate the ending, but I felt that maybe a different ending would have been just as good, possibly better. Still, I liked the film overall. It was a sweet indie drama that felt like a slice of life. On a side note, it kind of makes me never want to live in New York.

Greetings again from the darkness. In a remarkable opening 6 to 8 minutes, we see John Lithgow and Alfred Molina prepare for, execute, and celebrate their official marriage after almost 40 years together. During this sequence, we quickly understand that Ben (Lithgow) is the emotional one, and George (Molina) is the pragmatic, balanced one. The brief ceremony is filled with love, admiration and happiness, and leaves us with no doubt that these two are dedicated to each other.

Director Ira Sachs (Married Life, 2007) also co-wrote the script with Mauricio Zacharias, and the film excels while Lithgow and Molina are on screen together. It comes across as a contemporary version of the 1937 Leo McCarey film Make Way For Tomorrow (with Beulah Bondi) and highlights the obstacles faced by an elderly couple who face financial hardships, New York real estate misery, and the not-so-welcome generosity of friends and family.

The gay component is not played up, rather the story is told in straight-forward manner as the couple is split up, and deals with loneliness and unease as they feel out of place living in a party house with friends (Molina) and sharing a bunk bed with a typically awkward teenage boy played by Charlie Tahan. The boy's parents are Marisa Tomei and Darren Burrows, who face their own marriage and parental issues.

The happiness of the opening wedding ceremony quickly dissipates into misery for all characters. The only happy people are the grown men playing a Game of Thrones board game. Literally everyone else is unhappy, or at least disinterested.

Although conflict is ever-present, the Catholic Church is the closest to a real villain. John Curran plays a Priest in the terrific scene in which Molina is fired (because of his wedding) from his Catholic School teaching job. The poor town of Poughkeepsie takes a couple of shots as well, but mostly it's the pent-up frustrations of Tomei, the passive-aggressive approach of a few other characters, and the crazy teenage mood swings of Tahan's character that keep Ben, George, and we as viewers quite uncomfortable. See this one for the performances of Lithgow and Molina, and for the beautiful Chopin piano throughout.

My wife and I were both moved and touched by this sweet sad drama of romance near the end of life's long and winding road. When a couple really complete each other's life it is a joy even when things turn rougher because that very important someone is there, next to you to divide the sorrows and multiply the joys.

But when circumstances beyond their control force them to separate briefly friends and families who offered to help become tested, tried and like most of us will fail at some point.

We are big fans of John Lithgow (we grew up near his home town and he's a local legend) and the great Alfred Molina and Marisa Tomei. The script, direction and performances were all like the music and art used in the film – wonderfully filling in all the colors of life.

As for it being a remake, the great comedy director Leo McCarey (Laurel & Hardy films, the Cary Grant screwball comedy The Awful Truth, An Affair To Remember, etc.) wanted to make a film about the problems of old age. Here is the plot description of Make Way For Tomorrow (1937), "At a family reunion, the Cooper clan find that their parents' home is being foreclosed. "Temporarily," Ma moves in with son George's family, Pa with daughter Cora. But the parents are like sand in the gears of their middle-aged children's well regulated households. As the days become weeks and then months, everyone gets stretched until they must except being separated permanently and go out for one last fling before saying goodbye forever."

Both films are wonderful dramas that ask us to treat each other with more compassion and civility – and to be prepared for the end.

Leo McCarey was nominated for an Oscar eight times and when he won Best Director in 1937 for The Awful Truth in his acceptance speech he said thank you but it was for the wrong film (meaning he thought he should have won for the more important feature Make Way For Tomorrow.)

I recommend seeing them both and then go and hug everyone you know and cherish while you can.

LOVE IS STRANGE, a film, unaffectedly directed by Ira Sachs, is so natural and unassuming in its portrayal of relationships that the divide between audience and the characters on the screen disappears; we are directly slipping into their lives with the ease of familiarity. There is a formal beauty to the movie, thanks to the cinematography of Christos Voudouris - the way he captures each space - delineated not only through décor, but through the light which mutates with the atmosphere, very much like a Chardin still-life painting, classic in its grandeur and silence.

The plot revolves around two gay men who have lived together for 39 years and finally get married, a decision that will alter their lives in ways that are unexpected and transforming. We first meet Ben, a seventy-one year old artist, (John Lithgow in a breathtaking performance) and his partner George (Alfred Molina in an equally fine portrayal,) a music teacher in a Catholic school - both excitedly, and nervously preparing for the ceremony and the post- wedding party. From the moment we first view Lithgow and Molina singing a duet together - their voices and theatrics in synch and at odds - tender intimacy is apparent. Ira Sachs and co-writer Mauricio Zacharias have created two remarkably gentle and loving individuals, their intimacy and enduring connection, is both understated and powerfully passionate.

The consequences of ultimately legitimizing their union bear witness to the harsh realities that accompany that choice. Soon after the nuptials, George gets fired from his job, and the economic demands of existing in NYC, forced to sell the apartment in order to find more affordable housing, interrupts their former cadence of living. Having no alternative, George and Ben, temporarily separate to move in with friends and relatives till they can find a home of their own. Molina and Lithgow stunningly convey the anguish of living apart and the intense longing of being united again. It is as if one person is sliced in half – going through the motions, but not fully functioning without the other.

LOVE IS STRANGE also references the mysterious corridor of generational diversity - both fractious and enriching. The anxious, rebellious teenager slowly embracing life's uncertainties embodied by Joey, Ben's great-nephew in an excellent performance by Charlie Tahan who is likable, secretive and obnoxious – an eternal artifact of an adolescent's growing awareness of life's promises and aching discomforts. And approaching mid-life, are his parents - Kate (Marisa Tomei - a natural wonder) - a writer trying to meet the demands of motherhood and still do her own work and Elliot (Darren E. Burrows) a father too wrapped up in doing business (supporting the family?) to notice the splintering family dynamic. Tomei's facial expressions convey a woman's inner tug-of-war between being a caregiver and accomplishing her own ambitions, shifting from haggardly frustrated to a luminous empathy, particularly for the growing pains of her son on the cusp of adulthood.

Director Ira Sachs has given us a tone poem to the beauty, delight and fragility of living in a city - New York - dynamic, diverse and constantly changing, echoing the vicissitudes of life as we stumble through our own personal unfolding. A love story that has depth and endurance - delicate and supple, both romantic and mundane, LOVE IS STRANGE is wrenchingly lovely and generous, but also a reminder that nothing is permanent.