Urbania

"Urbania" is a film that deals with tough issues in a complex way. Directed by first-timer Jon Shear with amazing surehandedness, "Urbania" tells the story of recently-singled Charlie, who has seemingly become disillusioned from society. Shear's script, based on the play "Urban Folk Tales," is a sharp and occasionally hilarious look at a gay man's search for redemption and love. Obsessed with a man he's only seen on the street, Charlie wanders the streets, looking for love, and hoping to rekindle his past relationship. It's a simple story, dealing with some hard issues in a non-linear way.

Dan Futterman is heartbreaking in a very challenging role that requires him to gain our sympathy in spite of his problems. On top of it all, however, is Shear, who handles this material with affection and heart. His direction manages to be moody, atmospheric, suspenseful, and scary, all the while maintaining our sympathy for Charlie. Thankfully, just as the film gets too serious for its own good, Shear throws in numerous asides to urban folk tales and reenacts them. It's very funny, but in the end, it's as cathartic a film as you will see all year. Do yourself a favor and catch this emotionally-haunting film but remember: bring tissues. You'll need 'em.

Urbania starts out with the protagonist asking us: "Heard any good stories lately?" Next, we see a couple well-known urban legends played out, and this sets the tone and theme for the rest of the film, which starts out to be about a man trying to come to terms with recent past events, while pursuing a potential love interest (but you don't really learn much about this man until the plot unravels.) This movie was so fascinating I watched it twice in one weekend. I rarely do that, but this seems to demand multiple viewings. This is easily the best movie I've seen about urban legends. It utilizes a bleak urban setting to weave this popular folklore with the story of one man's night and the difficult time he has struggling to face his past and gain control of his life. Fantasy and reality are appropriately difficult to separate, just as it is with urban legends. The cinematography is excellent and innovative, the script is tight, the acting is perfect (Dan Futterman is outstanding as the lead), the character development is exceptional. This is quite brilliant, really. Like a David Lynch film, every second, every sound, every word, every image tells you something important. Finally, this is a film that (going along splendidly with the urban legend theme) questions assumptions some groups of of people have about "the other" (and vice versa). My Rating: 9/10.

If you're tired of gay-themed movies about groups of catty, superficial gays backstabbing each other over guys and then offering platitudes of eternal friendship, or treacly movies about English schoolboys in love set against the gritty urban backdrop of their working-class neighborhood, or movies about a fabulous woman's best friend who is clean-cut, bitchy, and dresses to the height of fashion but is in no way a gay stereotype AT ALL, then Urbania is for you. It stands apart from every gay-themed movie I've seen in that it's unsentimental, free of the feel-good sentiment almost every other gay movie is terrified to be without, and is a challenging piece of writing and film. It's the first gay movie I've seen that doesn't bend over backwards to excuse the fact that it's gay.

This is a movie that is impossible to synopsize without giving away its biggest plot point, but suffice to say it's refreshing to see a movie that takes the depth and intellect of its gay characters for granted, and also assumes a decent level of intelligence of its audience. The movie contains complex characterizations and a challenging structure, exploring the dark side of human nature, especially the nature of those who have dealt with a number of additional issues revolving around being gay. This film begins a mile and a half past the starting point of other gay movies, who still seem stuck desperately trying to peddle a "Gay is Okay" agenda. The acting in this movie is also good, especially the main character, and the editing and cinematography keep the viewing experience tense and exciting.

I did not enjoy watching this movie, the way one enjoys, say, "Godzilla 2000." It's a harrowing and difficult film. But it's wonderful to see a movie like this coming out; one that is challenging and unsentimental, a real, thought-provoking work of film that happens to take gay men and their issues as its topic. It's a big step forward for gay film, and makes almost all other gay-themed films look as horribly amateurish, or just plain horrible, as they are.

--- Check out website devoted to bad, cheesy and gay movies: www.cinemademerde.com

Good films I will see two or three times in the theatre. Really good films, like Urbania, I will watch several more times on video. God bless the advent of video and DVD for cinephiles like myself. This is one work, as someone else noted, that begs for multiple viewings. Not only for it's entertainment value, but because it allows one to see just how cleverly this film keeps its secret until it's the right time to reveal itself. It also gives one the chance to see a beautiful and complex performance by Dan Futterman.

But there is one scene with Futterman and Alan Cummings which shines like a tiny diamond in the center of Urbania. While the scene fits neatly and contributes to the flow of the story, it is so well written and acted that it feels to me almost like a separate entity. Alan Cumming packs so much subtextual information into the turn of a phrase and a facial expression that it's breathtaking.

While it's not an easy film to watch due to the subject matter, it is intriguing. Oh yes, and also remarkable is Lothaire Bluteau's (Bent, I Shot Andy Warhol, Being at home with Claude) moving portrayal of a homeless man.

Urbania is highly recommended.

A night in the life of obsessed Charlie (Dan Futterman) who, thanks to Daylight Savings Time, has one more hour of the night to fulfill his need – whatever it may be. Like a moth to a flame he is drawn to Dean (Samuel Ball) – but the question is: will the flame consume him?

The story is told in a disjointed series of flashbacks that means you must actually pay attention to the complex story.

This is one film where the term `cinematic style' cannot be under used. It is stylish, dark, atmospheric and intriguing from start to finish. It is also hilariously funny at times.

It was nominated for many awards and won most of them; including Best Actor for Dan Futterman at the Seattle International Film Festival. He is most well-known for his role in `Birdcage' as Calista Flockhart's boyfriend. He plays against type as the obsessed gay man determined to make this one night in his life count for something important.

Every urban legend ever repeated is exhumed; and as Charlie says near the end of the film `We would be the stuff of legend.'

Jordan Beswisck (Casting) and Director Jon Shear did an especially remarkable job with the supporting characters. They slink in and out of Charlie's night like the creatures of the dark they are. Particularly notable are Josh Hamilton as Matt the bartender, Lothaire Bluteau as the street person that has taken up residence on Charlie's door step, William Sage as Charlie's upstairs neighbor Chuck and his girl friend Clara brilliantly played by Barbara Sukowa. What an amazing, yet disjointed, ensemble!

The cinematography by Shane F. Kelly deserves special recognition: it is dark, fast, enigmatic and always brilliant.

The producers Stephanie Golden and J. Todd Harris also need to be acknowledged for their bravery and foresight in bringing such a difficult film to the screen. They have the ability to see beyond the obvious to the golden moment that IS this film.

This is not a film for everyone – but if you possess intelligence, wit and character it is a film you must see.