Zero Patience

I've seen nearly all of John Greyson's films and shorts and enjoyed every single one of them; this was a film I was interested in seeing again and purchased the DVD once it became available, so I'm likely not the most unbiased reviewer. However, this enjoyment is based on the movies themselves, their audacious vision and the innate originality of the filmmaker, not from any personal connection to him or to anyone else who appeared in or worked on any of the films.

Patient Zero is perhaps the original of his films because of the treatment of the subject matter. Unfortunately, this is also perhaps the films biggest failing: where the film appears most dated and reflects inaccurate information deals with both HIV and AIDS. However, despite this, the film merits viewing and is highly recommended because some of the subject matter (fear, mistrust, scientific and historical abuse versus education, etc.) are rendered intelligently and well, and in a highly unique and entertaining manner.

Well worth renting and well worth repeated viewings.

I saw this film last year and was struck by it's power. The movie relates the story of patient "Zero" - the first known carrier of the AIDS virus - who appears throughout the course of the film as a ghost. It's a moving, surreal film.

One of those totally surprising contributions that remind us that there are still film-makers with talent and originality out there.

This Canadian film is hard to classify - it's costume drama, romance, Broadway musical, ghost story, mocumentary, educational film, puppet show, and political soap-box all at the same time.

It tells the story of the noted Victorian sexologist Richard Francis Burton (still alive after an unfortunate encounter with the fountain of youth) and Patient Zero, the man who, according to the media beat-up, brought AIDS to North America. After three years dead, Zero returns (not quite to life) to clear his name, but the only person who can see him is Burton, who wants to use his story as the centre-piece of his banal 'Hall of Contagion' exhibition.

Nineteenth century attitudes collide with twentieth century morality. Things get really sticky when the local AIDS activists weigh into the argument ...

Gorgeous original score, singing bottoms, dancing (stuffed) animals, talking viruses, synchronised swimming, a chorus of naked men, taxidermy! - there's something in this film for everyone.

Funny, bizarre, devastatingly sad - this three-tune-musical-on-film has got everything, though not everyone will cope with the grown-up content and highly theatrical treatment.

Exotic fruit indeed: witty, subtle, and not-so-subtle, with lots to think about - well worth seeing, and not only as a rare example of how to make a musical work on film.

Why should you sit down and watch a Canadian gay AIDS musical eh?

Well firstly dismiss all pre-conceptions - yes that does include the Canadian ones! Don't sit down expecting to see something with a grave tone and serious approach - you'll be disappointed. What you will see is a touching and at times both romantic and funny piece of cinema. If you're into obscure classics then this may be the ultimate! There is a serious message at the core of course but the flashy sets and music see to it that it's not just an extended eductional film (though it probably should be)......

The first time I saw this it was by accident.... I was sat there in the middle of the night, nothing much to watch, and suddenly this amazing *thing* happened and I was sat glued to Zero Patience. I thought it was interesting, but was utterly bemused by the songs - at that point I had not really understood the lyrics, was not well educated enough about AIDS to get the subtleties and seemed to be watching a lot of gay programming without knowing why I was... I have now discovered that it was all a matter of vested interest! Anyway...

You do not need to be gay or be HIV+ to "get" this film. In fact awareness is such amongst the gay and +ve community that I daresay the BEST audience this may have is straight people - even if some of the - and I use the phrase loosely - "plot" does alienate them a little. The irreverence may alienate anyone, but it's been produced for the most reverent reasons so don't judge too soon

You won't appreciatte this film the first time I promise you. It will leave your head full of obscure images though; if all you can remember of a mad musical is drag queen viruses, talking assholes and a 150 year old scientist hiding out in a Canadian museum (!) then this is the movie you've seen!

And doesn't that description make you want to see it? Come on! You must be intrigued at least...

Watch it once for interest. Watch it a second time to enjoy (you are allowed to enjoy political films about devastating epidemics.). Watch it a third time to revel in the romance and get angry with the authorities. JUST WATCH IT!

And if you've just seen it PLEASE add your comments to this small collection - disagree with all I've just said if you want but don't sit silent nodding and shaking your head - do something proactive!

Film Critic DELIVERED with stinging irony, that lyric is meant as a blanket indictment of empiricism, and of our abiding need to "classify and label," to "banish every doubt." Why? Because a label is a tool that can double as a weapon - what identifies and separates can also isolate and stigmatize. How, then, to describe Zero Patience without falling into the empiricist's, and the critic's, taxonomical traps? A "movie musical about AIDS" is a popular answer - one that's odd enough to be enticing, vague enough to be innocuous. But it doesn't begin to sound the depths of a work that is intriguing, provoking, amusing, offending, demanding, inordinately intelligent, and defiantly resistant of the very thing I'm paid to do.

So let's approach the picture from another angle, from the perspective of writer/director John Greyson. Now Greyson, unlike some artists who happen to be gay, would probably agree that there is indeed a definable "gay culture," an esthetic that goes heavy on irony and camp and outrageous humour and unapologetic theatricality. Clearly, all these ingredients are abundantly evident here. Just as clearly, Greyson (whose background lies in - get ready for a label - experimental video) has positioned his film at a 180-degree remove from a piece like Philadelphia. That movie, a drama about AIDS with a gay protagonist, was the product of mainstream Hollywood culture (unironic, non-outrageous, linear in plot and design), and took enormous pains not to offend a mainstream audience. This one is the product of a gay culture and doesn't give a damn who it offends. This one is smarter and more subtle, but lacks the emotional punch of the other (linear directness has its rewards), and the attendant complexities are hard to grasp at a single sitting.

Perhaps this will help a little: Greyson has reincarnated the Victorian explorer Richard Burton (John Robinson), using him to symbolize the dangers inherent in the empirical approach still taken by the scientific community toward all issues, including the AIDS plague. Burton, who toils in a Natural History Museum, is intent on mounting an exhibit called The Hall of Contagion, with AIDS as the sexy centrepiece. Just as his explorer colleagues once tracked the source of the Nile, he hopes to trace the "cause" of this disease. Causation, of course, is a first principle among empiricists. Rationally, if you find the cause, you may find the solution. Ethically, alas, it's a different matter; there, if you find the cause, you can point the finger - you can affix blame, you can isolate and stigmatize.

Enter another reincarnated soul, a gay ghost known as Patient Zero (Normand Fauteux) - the flight attendant who, in books like Randy Shilts' And The Band Played On, is "blamed" for first bringing AIDS to North America. Much of the film unfolds as an ongoing dialectic between the attitudes embodied in Burton and Zero, between serving a false cause and serving as a false villain. However, the dialectic takes the form of a literal song and dance - zippy production numbers where Glenn Schellenberg's toe-tapping melodies are laid over Greyson's thought- provoking lyrics. Consequently, the decorative fun on the surface (watch, if you dare, for an eye-popping ditty entitled The Butthole Duet) simultaneously competes with and complements the seriousness beneath - it's like tossing a colourful AIDS quilt over a dying AIDS patient. Greyson has refined and desentimentalized that most difficult of genres, the musical tragedy, and with every succeeding tune, he exponentially advances his thesis - other potentially false causes, like the "African Green Monkey" theory, like the HIV virus itself, come under his fire, as does everything from greedy drug companies to grousing AIDS activists. The film spares no one because, well, the disease spares no one.

Philadelphia is American in origin, Zero Patience is Canadian. Each is splendid in its own way, and each reflects the best of the culture (and the industry) that gave rise to it. The former is conventional, straightforward, and all about certainty, including the certainty of death. The latter is quirky, complicated, and all about uncertainty, especially the uncertainty of life. Greyson, and the film he's made, are brave enough to question incessantly, and smart enough to know that "HIV- positive" is a lot more than a medical label - it's a cruel oxymoron. He has zero patience for the blustering apostles of science and even art, and (the ironies abound) has more in common with another eminent Victorian than he might care to admit. Mister Greyson, meet Mister Tennyson: "There lives more faith in honest doubt,/ Believe me, than in half the creeds." Benjamin Miller, Filmbay Editor.