Au-delà du désespoir

a film about AIDS. touching for its provocative manner to present not the most comfortable themes, using a cast who, at the first sight, seems be ideal for different genre of film. but this is the detail who gives to a simple story force and significance and status of support for reflection. because it is impeccable in the translation of states of each character. in the conquest of the past. in definition of motherhood. in the delicate way to examine the roots of different forms of love. and this did it a must see.

Our Sons is an ok tv movie but could've been better. I did get a good laugh out of Julie Andrews calling Ann Margret " A stupid bitch". Ann Margret and Julie Andrews are good but Hugh Grant is annoying as usual.

Our Sons is one of the better films dealing with AIDS that I've seen next to The Normal Heart. It casts Julie Andrews and Ann Margret as two radically different women who must come together when one of their sons is dying of AIDS.

Hugh Grant has an early role as Andrews' son and he pleads with his mother to bring Margret's character from Arkansas to see his dying lover and her son. This doesn't go as planned and Andrews must convince Margret to see her son, because Margret is under the impression that her son deserves what's coming to him because of his lifestyle.

Even 30 years later, this story is all too resonate with parents abandoning their gay children all the time. Our Sons tells an incredibly moving story about how it's never too late to reconnect and forgive. Andrews and Margret have never been better and you have to give them credit for willing to star in a non-judgemental story about AIDS when people were still scared to talk about it.

No matter what a man might have done to bring himself to an AIDS-ridden state, at the very least, he's entitled to two things: a fond farewell among his loved ones, and a proper burial. Few could have played out these sentiments more simply and rivetingly than in "Our Sons." Even in the bright San Diego sunlight, there is a pall of melancholy that hangs over everything in this movie--a ghost of yearning for tenderness and tolerance. It's an elegy that plunges through sharp differences of opinions, and, unlike most great homages, finishes with a sweet, somber sigh. I cannot remember when I've been moved so strongly by a TV movie.

Julie Andrews stars as a businesswoman whose homosexual son, exhausted by the ordeal, reveals that his lover is dying AIDS. They have drifted apart, because although it had never been expressed, she is deeply disappointed with the situation, and harbors a faint hope that he might change. Under the mistaken notion that the best thing for his lover is to reunite him with his own mother, he asks her to travel to Arkansas to make a personal appeal. The problem is what separates this Mother and Son is not a tacit agreement to quietly disagree, but out-and-out rejection and gut-wrenching revulsion. The war breaks out between the two mothers as they wrestle with their strong feelings about their sons.

Julie Andrews has never been known for playing mothers. Her clipped diction and stilted manner made her a more fitting nanny or governess, I think, than a living, breathing, nurturing bearer of children. It's these qualities that make her right to play Audrey Grant who has distanced herself from her son, because she doesn't want to admit that she hates what has happened. Andrews has never looked more radiant than she does here. It's as if the blood has finally started coursing through her veins. She looks recognizably human, and she has never seemed smarter than she does here.

Ann-Margret doesn't seem any fitter to play a mother than Andrews, but she has always been known for her ferocity. Witness her going at John Forsythe in "Kitten With A Whip" or her eyes flash at a cockfight in "The Cincinnati Kid," and you'll know what I mean. But the abuses the women she played could heap upon the men in their lives, her Luanne Barnes can't quite get away with with another woman. She and Andrews go at it tooth-and-nail, and what comes of it are their most powerful performances ever.

As Luanne's son Donnie, Zeljko Ivanek is the humiliation every parent fears, the skeleton most fathers and mothers want to stay in the closet, the jack-in-the-box they'd just as soon lost its spring. Donnie knows how his mother feels about him, and he wrestles with the prospect of a painful reunion as bravely as a dying man can. Writer William Hanley has blessed him with a love of movie dialogue and a take-things-as-they-come buoyancy. Ivanek knows what to do with a part this good. He flies with it, and he never comes down. With him playing Donnie, you can understand how he could attract someone who looks like Hugh Grant (who plays Audrey's son James as if he had a terminal case of lockjaw) and who could make a mother like Luanne Barnes see what a waste her rage and rejection was.

John Erman, who also directed another good AIDS picture "An Early Frost," is an intelligent director; he knows when he has something good in front of him and when to get out of the way. The moral of the story may be a bit simplistic for some people's taste: that if we don't love our children, who will? But I think this movie stands alone on the subject of AIDS; it's the most powerful movie about it I've ever seen.

When one hears that Julie Andrews and Ann-Margaret are going to be in the same film, one expects possibly a comedy or musical. What you have here are some riveting performances by two old pros in a story that still could resonate today. The in-bred bigotry espoused by Ann-Margaret I am sure, is still practiced by many in regions all over the world. Julie Andrews character is somewhat more enlightened as she has (grudgingly) accepted her son's homosexuality. Her initial facade of tolerance is tempered by a "disappointment" that her own son is gay. Her earnest wish for her son to be tested and his fear of being tested show honest and true emotions for the characters. Hugh Grant does well in his role of the lover about to lose his mate. I hadn't see this since it was first telecast in 1991, but I was surprised to see how well the writing, direction and especially the performances have held up over the years. See this by all means.