Indian Summer

AIDS movies formed the core of queer cinema ten or twenty years ago, and there were many memorable ones (The Living End, Parting Glances, World and Time Enough...). This British movie came out near the end of that 90s period, just about the time new drug cocktails were beginning to change the life course of HIV sufferers. The movie is set just before that time, and its gay characters are too familiar with the dying of their community. As one of them here says when challenged by a hospital nurse during a friend's last hours, "We've done this before." I first read about this movie in a glowing NY Times review when it received its very limited American release a decade ago, and wished I could see it. Now I have, thanks to Netflix. Though the AIDS epidemic is always in the background, the center of the movie is the unlikely – but all the more believable – relationship between a handsome, sexy young dancer played by Jason Flemyng, and an overweight, alcoholic therapist played by Antony Sher. The actors and the screenwriter take care to help us understand how these two mismatched souls become mates, and in doing so, elicit sympathy for these two deeply flawed individuals. This may have been a low budget indie flick, but it features the virtuoso acting that we so often associate with British thespians, not only from Flemyng and Sher, but in a lovely turn by Dorothy Tutin as a batty old dance company manager who is sinking into dementia even as the younger members of her company are dying off. This all makes the movie sound pretty grim, but in fact it's lively and funny. The movie's chief asset, aside from its performances, is its snappy and sophisticated dialogue by Martin Sherman (who wrote Bent). This is an adult love story, though no one ever says "I love you." The two lovers are both painfully imperfect humans, like all of us, who cannot manage their interactions with anything like the smoothness that psychobabble books (or Hollywood movies) suggest they should. Even the therapist who helps other folks manage their traumas cannot manage his own with grace. The highlights of the movie are the sharply written "duets" between the two protagonists as they navigate their very rocky relationship. My chief reservation about the movie is a plot dive into some sappy melodrama as the dancer's climactic farewell performance approaches, but even so, the movie earns its sentimental wash more than most with the careful, sophisticated development of its characters. I forgave – alright, I even succumbed to – the last act sentimentality. And finally, I can't resist a brief reference to Mr. Flemyng's attractiveness. I first noticed him oozing sex appeal in Stealing Beauty, and then playing the bully villain in Hollow Reed. Alas, in recent years, he seldom seems to turn up on American screens doing anything much worth watching. Pity. He's plenty worth watching in Alive and Kicking.

This movie turned up late night on Cinemax, and there was nothing else on so I stuck with it. Being an open-minded moviegoer, I wasn't taken aback by the story of this conceited gay dancer who can't imagine letting himself get involved in a relationship, particularly not with the aggressive therapist. Once the two start talking, it's funny how they pull themselves closer by pretending to push each other away. Their unlikely pairing goes from heat to companionship to frustrations to resolve. The most hilarious scene involves the dancer and his female best friend, when they play scientist with each other's "lab equipment". The most dramatic scene is when a somewhat-expected tragedy is turned into a powerful performance before an audience. This is a funny and easygoing movie about letting go of life's frustrations, then remembering to live.

As former ballet, jazz dancer myself, this movie really hit home for me. First, the struggles of everyone you know dropping dead from this _ _ _ _ ed up disease. Second, the struggle of just dancing everyday to be perfect. Third, the need for everyone to love me and of course my dancing. The final scene will tug at your heart. I've seen this disease up close and it can really do this to a person, but this guy's guts and determination to not give up just gave me goose bumps during the final dance. You can just see the passion, love, strength, energy, commitment, determination, and guts that this guy had up until the end. It will truly amaze you. Also I loved the whole idea of this beautiful sexy blond dancer falling in love with the not so beautiful therapist (fat, balding and not a blonde). See it.

No queens, no histrionics...other than a deliberate put-on one. Lots of laughs with gays laughing at themselves or, rather, the picture that society would have of them. I had never understood before how men can make love face to face. And the scene between the dyke and the queer (it's OK, they use these words) trying to make love is PRICELESS!!! Talk of forests and lollipops. The boy and girl dancer are really best friends.

What's really poignant is the scene in Greece....was it the Delphi ruins? The timeless beauty of the place, and the definitely known finite-ness of the visitors was a juxtaposition you'll seldom see. As he throws the ashes of 2 AIDS victims out in the beautiful Aegean (?) Sea, the wind blows it back upon them. "I've got Ramon in my eyes" the dancer responds. From the georgeous Grecian landscape back to the burning wrecked cars in a junkyard of London was a GREAT seque.

Judy Tutin has died, which is why I bought this movie. Her line "Don't be sad because you won't grow old." as her self-knowledge about her Altheimer's becomes more obvious, is even more touching.

So, we have a comedy about dancers and AIDS. What other profession has been so struck by this horror?

The lines about living life to its' fullest till you die are tremendously inspiring, and the comedy all around keeps the beautifully shot movie from being doleful. See it with a gay friend...one who dances.

Kudos to those bringing this incredible breathtaking film to the public. Director, Nancy Mecker, is one who understands the story, the actors and her audience. She brings this sometimes funny, sometimes awesome movie to a level of intelligence and honesty not often seen in the gay-themed run of the mill flicks. AIDS is certainly an issue here, but not the focal point. It only introduces us to a more in depth understanding as to why some who are stricken with this disease take certain paths of survival. Having lost so many friends and fellow performers to this illness, I am very sensitive of what happens to those stricken. How nice to see strength and courage in this movie. And the dancer, beautifully played by Jason Flemyng, never stops trying to achieve that perfect dance, that place in the sun of perfection. The final dance is probably the finest dancing ever filmed. The second time I saw this film I took a good look at those that were helping the dancers by lifting them. Their eyes spoke their love to the men they held in their arms. It had me weeping and loving and wanting to express my feelings towards someone. As the dancer's lover, Antony Sher was a terrific partner for the ego of Flemyng's character. He certainly wasn't what the typical gay film goer would expect to see. A bit on the chunky side, balding and older, Sher was a joy. And, yes, those ice cream and hot fudge treats made me horny too. What a wonderful understated performance. The two men together were classic. The trip to Greece was perfect for this film, adding yet another level of beauty of the male form in motion. The sex scenes were well played. Just enough but always keeping in mind the characters they were and their needs. I loved this movie so much, I went out and bought it for my collection.