As Is (1986)

Rich (Robert Carradine), a writer in NYC, learns that he has AIDS. He is frustrated, and alternates between "it doesn't get any better than this" and a raging anger about his own fears and the prejudiced reactions of others to his condition. Recently he broke up with his long-time lover Saul (Jonathan Hadary), but they reconcile because Rich needs emotional support and sanctuary. Saul is the only person who loves him enough to argue with him when he doesn't appear to love himself. Characters are portrayed realistically, and not white-washed. The bar scenes are particularly funny in their self-consciousness, and we get the gallows humour of the gay men. Rich's brother (Alan Scarfe) visits him. There is no gay moral superiority and we are touched by the brother's efforts to empathise with someone he does not want to lose. Joanna Miles as Rich's actress friend Lily is warm but has little to do except introduce him to her cousin Chet (Doug Annear). Lily's farewell to Rich in the hospital is reminiscent of the way gay men abandon their infected partners. Coleen Dewhurst as the hospice worker brightens things up with her humor, sensible attitude, and comments.

"As Is" does not preach, but suffers from staginess. It is not rated, but is adult in nature, with some coarse language. This made for cable TV movie is a version of the stage play by William S. Hoffman, adapted by the author. The theatrical origins of the play are still evident in this film. Studio sets reveal how underbudgeted the project is, but it is the eloquence of Hoffman's dialogue that rises above it all. The depth of the film comes from the observed detail of gay lifestyle. Peter Matz composed the incidental music. Michael Lindsay-Hogg directed.

Unconditional Love (2002)

Lawyer Max Beasley (Dan Aykroyd) leaves his middle aged wife Grace (Kathy Bates), and she impulsively decides to live her life the way she wants to. Her favorite pop star, Victor Fox (Jonathan Pryce), a crooner in the style of Tom Jones, is murdered by the "Crossbow Killer" serial killer in her home town of Chicago just as she's about to meet him on TV. She takes a plane to London to attend his funeral. On the flight, Julie Andrews has a cameo as the person sitting next to Grace who comforts the other passengers during a turbulent storm by getting them all to sing, "Getting To Know You". When she arrives she meets Victor's secret lover and "valet" of 20 years, Dirk Simpson (Rupert Everett), who is determined to avenge Victor's death. Grace convinces him to come back to Chicago with her to find out who killed the singer. Together, along with Cathy's dwarf daughter in-law, the trio eventually find the cross-bow killer and turn him into the police. In the process, Grace gradually begins to understand what it means to live life on one's own terms, the value of unconditional love, and the evils of sexism and homophobia.

The film ends with the trio being celebrated on a TV talk show as heroes who have tracked down the serial killer. Dirk announces that he is turning Fox's home into a halfway house for gay youth who are kicked out of their homes by their bigoted parents. Maudey Beasley (Meredith Eaton) reports that a cell phone company is having her sponsor their new line of phones. Finally, after all is said and done, Max appears in the audience and asks for Grace to start her singing career right now on national television. Celebrity Barry Manilow walks onto the stage and joins Grace in a song that sums up the major political message of the film: in life we all belong to the human race and must respect the human rights and human dignity of all men, women and children.

The main theme is about being different from everyone else and how society treats unusual people. It's an off-the-wall zany film, touching, funny, crazy, and surreal. For some inexplicable reason the real Julie Andrews keeps popping up at random times to sing. Critics give it mixed reviews, and ignore the film's political commentary and simply see it as a quirky comedy. Film critic Jason Bovberg wrote: "As a dark comedy, Unconditional Love can be occasionally effective. There are a few moments in this film that had me laughing quite hysterically. Merely the sight of Jonathan Pryce shuffle-dancing through clouds over the opening credits loads the film with promise. And Meredith Eaton as Maudey steals every scene she's in. But in the end, you can't escape the fact that Bates has difficulty carrying this movie and in fact, doesn't seem to really understand the type of film she's in." Written by Jocelyn Moorhouse and P. J. Hogan, who also directed.