Saindo do Armário

The lives of gay people are full of the stuff that makes for drama; inner conflicts, self acceptance, conformity, family tensions and many other issues gay people are forced to confront. Whether it's the late start or lack of a tradition, the genre of the gay movie has very little quality on offer. American cinema has been particularly weak in this area. The AIDS epidemic has been handled with more assurance than the inherent ordeals gay people face. There have been many stereotypical, predictable and basically forgettable gay movies over the years. "The Boys in the Band" made over 30 years ago still stands out as a major gay film; indeed a sorry state of affairs.

European cinema has fared far more successfully with matters gay, with such fine works as "Wild Reeds" and the outstanding "Come Undone". It comes as much of a surprise that the stodgy British cinema should have produced some of the landmark gay movies, amongst them the brave "Victim" (1961) made when homosexuality was still against the law and John Schlesinger's fiercely intelligent "Sunday Bloody Sunday" (1970). While "Get Real" is no masterpiece, it certainly is one of the most important gay themed films of the past few years.

Its importance lies in the lesson it so succinctly delivers. It's not a film directed especially at gay audiences and should be seen by all, especially high school audiences for whom it should be compulsory viewing.

The casting of Ben Silverstone was inspired. He manages to be totally convincing throughout, even pulling off the perhaps unlikely speech he delivers in the finale. Brad Gorton as his conflicted love interest has some truly moving moments. Director Simon Shore also elicits fine performances from the secondary characters, in particular Charlotte Brittain in the fag hag, fat friend role. It could have gone very wrong in lesser hands, but Brittain is a joy to watch and brings a lovely sense of humor to the proceedings.

Ultimately it's a truly unpretentious and very moving movie, far more effective than "Beautiful Thing". Don't miss it.

I went to see the film with a friend and we both enjoyed it very much, especially Charlotte Britain but when we discussed the film later neither of us could figure out one thing: When the guys are frolicking in the pool together and are caught by Kevin, the athlete acts as if he's not the least bit concerned that he's been "found out". He laughs about it and it seems that he's come to terms with his relationship with Steven being known. Back at school, however, he goes back to acting like he doesn't even know Steven and they musn't be seen even talking. But Kevin has already seen them together in the pool! We thought that was kind of lame. Here's this guy that they all call "puff" and "queer" and yet when the best friend of the athlete catches them in the pool it's as if nothing happened. In spite of this flaw, we enjoyed the movie. Any comments?

I've seen this film more than a few times, and each time I find something more to become enthused about - the masterful mirroring of plot elements, the subtle shadings in each character, the fantastic camera work, and so on and so forth. This is one of those movies that you can see again and again and never become tired of - for my money, it ranks up there with It's A Wonderful Life and Belle Epoque, as both an artistic success and a story of the triumph of the human spirit. The leads are magnificent - Ben Silverstone is more than a little swoonsome, and Brad Gorton switches from smooth as silk to blubbering jelly with just a twitch - and to all of you wondering why John would fall for Steven, wouldn't you want a boyfriend who makes you laugh, forces you to take risks, and to generally put yourself at ease? I know I would. Bravo to Ben and Brad and Charlotte, to Simon, Patrick and Stephen for making a movie that will stay with me for all time. Ciao, tutte!

I have just watched this film as part of Film 4's British Connection. I felt this film was an excellent exploration of homosexuality in the heart of Middle Class Britain. I lived close to the film's location Basingstoke when this was made and am the same age (give or take a year) as the main character, Stephen. Whilst never being as confident in my sexuality as Stephen, I really connected with the story told, his relationship with his parents and the scatter-shot but inadvertently appropriate use of homophobic abuse by the bullies.

Also thought the excellent flashes of dialogue uplifted the film such as "Whenever I see that badge (Head Boy) I wish it were an invitation." Priceless. The performances are almost perfect through out (I was a little unconvinced by Jon the Head Boy to begin with but warmed to him hugely as the film and love story progressed.) The cinematography is suitably understated and this is not the most cinematic film ever shot, which I feel helps with the realism. Some of the symbolism is quite fantastic, especially the closing shot, which I wont spoil.

I found it to be a much more recognisable film for me than Brokeback Mountain, Not to that films detriment, it is a masterpiece but I may feel closer to this because I have regularly been to the Odean in Basingstoke, but have never herded sheep on a snowy mountainside with Jake Gyllenhall.

It is a simple effective narrative about a subject close to my heart and I recommend it highly.

If "Get Real" chronicles anything, it is that messed-up jumble of a time that gay men have as teenagers, trying to be true to themselves without giving too much offense to those who abhor them. The mixed-up measures they take to express themselves and give expression to their feelings of desire and adolescent lust, suppressed by community morality and repressed by personal fear and self-hatred, unfolds over the London suburb of Basinbroke where a stick figure of a 16-year-old--Steven Carter--sits in or outside a public bathroom, trying to make contact with someone. He finds it unexpectedly with the big man on the high-school campus who garners immeasurable pleasure from their private meetings, but cannot bear the thought of being outed. The story passes through a grist mill of situations that leave the viewer with the simplistic notion that everything will be fine, if you just have the courage to be yourself with others. If it were that easy, I'm sure Brandon Teena would still be alive today.

Adapted from Patrick Wilde's play "What's wrong with being angry," "Get Real" sends a manifesto to parents and teachers about the supposed pressures they may be putting on their children, gay or otherwise. If you're willing to accept it on this level, the movie functions as an emotional release for all those pent-up gay teenagers who couldn't vent their anger and frustrations at the forces that impose on their burgeoning dreams. But if you try to take it any deeper, then you'd have to consider the internal struggles of John Dixon, the object of Steven's desire, because that is one of the few places in this movie where something is at stake. Johnny (as Steven likes to call him) travels a thornier road, and although Brad Gorton doesn't quite seem up to the challenge, his self-conscious jock does not seem so much a coward in the end as someone saddled with all the trappings of his gentrified upbringing who doesn't want to let go of them. Johnny Boy's smart, but like all teenagers, he's thwarted by desires that defy his good sense.

And that is a shame, because if there ever was reason to give up everything for love, Ben Silverstone would be it. He is the real find in this picture. He's the most elegantly constructed scarecrow to touch the silver screen (Seeing him, Conrad Veidt and "The Cabinet of Dr. Caligari" come to mind.), and it's amazing what calm he brings to the center of this movie. Unlike newcomer Gorton, the camera loves Silverstone, and it takes him in as if he were born to be in front of it. If that weren't enough, this young actor (He is about the same age that Steve should be.) has a voice that rivals Jeremy Irons for expressiveness and majesty. Imagine him as Hamlet or Edward II or in a remake of "Brideshead Revisited" and that sultry sound pouring forth in velvety plenitude. Why, it's enough to make you stand up and salute the Queen Mother.

With Stacy Hart as the iridescent Jessica whose dance with Steve is probably the sexiest scene in the entire movie.