Straight Jacket (2004)

In 1950's Hollywood, closeted gay actor Guy Stone (Matt Letscher) enters into a sham marriage with studio secretary Sally (Carrie Preston) when the tabloids start to question his sexual orientation as the "most eligible young bachelor". He spends most of his time prowling the gay bar scene for the next available hunk. In fact, Guy is so shallow that he doesn't even bother to learn the names of the star-struck men he sleeps with. His agent Jerry (Veronica Cartwright) struggles to keep him in tow, aware that if his sexual preference becomes public his acting career would be over. Soon after the marriage, Guy falls in love for the first time with Commie Rick Foster (Adam Greer), who has written Guy's latest movie script. They become lovers and the political and conscientious differences between the two are forgotten until their pairing is discovered. Guy is asked to go before the TV cameras to confess his homosexuality (which is equated with Communism) and to give names of others who are also gay.

Director Richard Day wrote a script based on his own stage play and filled it with wit and absurd situations. He casts a scathing eye on anti-gay prejudice, Hollywood phoniness, Red-baiting, and superficial relationships. The musical score is not good but it suits the era. Stephen Edwards composed the incidental music. This is an entertaining, thoughtful, and overlong film with an important re-enactment of a scary time in Hollywood. The conclusion resolves in a way to show comedy is related to tragedy.

Chuck & Buck (2000)

Chuck (Chris Weitz) and Buck O'Brien (Mike White) were childhood friends and sex partners until Chuck moved away at age 11. Sixteen years later, Buck visits Chuck (now called Charlie) in LA when Buck's mother dies. Buck is a man-child who never really grew up. He sucks on lollipops obsessively, and is now fixated on Chuck, who wants nothing more to do with his childhood best friend. Charlie is a music record executive and Buck begins stalking him and his fiancé Carlyn Carlson (Beth Colt) until Charlie is forced to re-examine their childhood relationship. Buck tells him, "When it's just you and me here, it's like I'm OK. And all this other stuff makes me feel dead. And I don't want to feel dead." He also writes a play and hires Beverly Franco (Lupe Ontiveros) to direct it for $25 per hour. It's titled "Frank and Hank", and Beverly tells Buck, "It's a homo-erotic misogynistic love story."

Finally Charles makes a deal with Buck. They kiss, have passionate sex, then separate forever. Buck is heart-broken, but seems to start growing up. The film's strength lies in characterizing Buck not as a caricature but as a real person we can pity, and even see a little of ourselves in. Chris Weitz, better known as a screenwriter, is reminiscent of Tom Cruise in every way. Director Miguel Arteta's film is somewhat unsettling, and scene after scene plays with discomfort. It's weird, creepy, fascinating, and never false. A shot-on-video indie about a sick infantile gay stalker obsessed with a childhood friend, it does pick up nicely as it progresses. This movie is watchable, funny, edgy, but often sad, and it sometimes stretches credibility--but movies often require us to suspend our disbelief. Gregory "Smokey" Hormel, Tony Maxwell, and Joey Waronker composed the original music. Mike White wrote the screenplay, and Miguel Arteta directed.