Beautiful Something

What I loved most about "Beautiful Something" is the way it accurately portrays the baseline of gay life in the US; random sex, mercenarial encounters, dysfunctional relationships and this constant expectation that there is always something better just out of grasp. This could be applied to the human experience as well, but in gay culture it is reality on steroids. Sex is used as an intro, a bartering tool, a commodity and at times even a weapon. The person you go to bed with is hardly EVER the same person you wake up to. The viewpoint from the main character, a frustrated writer, echos that of an entire community. The ending isn't sugar-coated or campy...it's a conclusion that you either accept or reject at your own demise. Great story-line, believable dialogue and great acting from everyone (even those who are clearly non-actors).

The movie feels a little underwritten, like they needed to work a little harder on making the plot flow. But I want to HIGHLY recommend the director's earlier movie, "Strapped." It was also made up multiple stories that came together in one narrative, but it was much more focused and fun.

Among the best of new gay films and an excellent effort by young director/writer Joseph Graham (his 2nd feature), Beautiful Something is original in conception and execution, taut and dramatic despite its restrained pacing (so that the viewer really feels the long night in which the film takes place) and a beautiful film to watch. Most important is the small ensemble cast's sensational acting and the director's and cinematographer's close attention to nuances of actions, facial expressions - the eyes of these actors are a marvel of expressiveness. The screenplay is idiomatic and feels very true, really engaging, if sometimes a touch long-winded.

Aesthetically it's also a delight with all the dark, gritty look and feel of Philly, and of the emotionally torn characters who inhabit it; the musical score and songs (many original with beautiful performances by Ryan Shaw) are also a pleasure as is the marvelous poetry of Richard Siken (from his first book "Crush") which is heard towards the end in voice-over - they stand in as the words and soul of main character, Brian, a poet himself, and come as the painful events of the night explode into epiphany, raw, honest and beautiful. (I found myself rewinding the end credits to ID all the music and poetry!)

The story rests tidily within one dark, wintry night with its limited resolution arriving only as the bright dawn arrives; Brian having been exhausted after the night's sexual and emotional exertions - disappointments - is totally exposed and honest so that the ending has an honesty and expresses each of the characters' vulnerability, through Brian, and this seems to me the film's purpose for being. It's a sexy film too, with some intense, brief and harsh, bareback sex, as well as tenderer moments; I think it's unclear what the director's attitude is toward unprotected sex and that's one of the few problems I've got with the film; but then random, unprotected sex is a reality of gay male sexuality these days and, of course, it adds an darker vibe, and undercurrent to the foolish, impulsive behaviour of the characters throughout the night's rambles and the searches for satisfying connection.

I saw this at the Sydney Mardi Gras film festival 2016 to a packed audience who seemed to appreciate this disarming film - judging by the closing applause, and comments I heard while the audience was walking out of the cinema. Set over one night in an urban city it follows the movement of a few gay men of different age ranges, and ethnically diverse, yet all with backgrounds in art or literature; and all looking to connect emotionally (and often physically). It is a beautiful film with good performances and one that keeps you entranced and emotionally connected with the characters – hence a very disarming film. Well worth your time.

We are back in the utterly strange and utterly human night-world of director Joseph Graham (Strapped). This time, in particular, men are trying to make art at the same time that they are trying to make connections, and they are trying not to sacrifice one for the other, though in the end they often do. These characters are who you and I are when no one is looking. That is the wonderful and unsettling thing about Graham's work: there is no movie-like artifice, no clichéd interactions you can see coming. Emotions erupt at odd times, as emotions do, and under it all lies a fateful loneliness that it is Graham's special task to explore, as he did so well in Strapped. This is another must-see.