Six Degrees of Separation (1993)

In this film a gay black con artist cunningly maneuvers his way into the lives of a white, upper-class NYC family. Flan (Donald Sutherland) and Louisa "Ouisa" Kittredge (Stockard Channing) are rich art dealers. One night they are called on by a wounded young man Paul (Will Smith), who claims to be a friend of their son and daughter from Harvard. Paul says he was mugged in Central Park and is the son of Sidney Poitier. Over the evening Paul flatters the couple and a business guest they are hosting with his tall tales and fascinating life stories. He claims that his famous father is casting a film version of "Cats" and offers his hosts roles as extras in the film. They offer him a bed for the night, and he enchants them with a home-cooked meal and eloquent conversation. The next morning, they find that Paul is not who he claims to be. When they investigate the life of Paul, they find the hidden truth. Their investigations are intriguing and lead them to re-evaluate their lives. The plot is notable for the disparity it reveals between the wealthy and the have-nots yearning to be rich. It is interesting that it is the gay member of the cast who serves as the crossover person. The end concludes on a comic rather than tragic note.

Six degrees of separation refers to the idea that, if a person is one step away from each person they know and two steps away from each person who is known by one of the people they know, then everyone is an average of six steps away from each person on Earth. Sutherland, Channing, and Smith deliver excellent performances in a great movie. John Guare wrote the screenplay from his hit Broadway stage play. Fred Schelpisi directed.

Crocodile Tears (1998)

This movie is a modern "Faust" about bitter gay art teacher Simon Desoto (Ted Sod) who learns he is HIV-positive. He speaks the first lines, "There's this friend of mine. He's HIV-positive. Its not me. Don't even begin to think I'm talking about me." Because he had a friend who suffered from AIDS before choosing to commit suicide, Simon panics and writes to the devil for help. Evil Mr. Cheseboro (William Salyers) offers the gift of health if Simon will become a straight stand-up comic who specializes in racist, sexist, anti-semitic, and homophobic humour. Plus Simon's former lover Carl (Dan Savage) must die instead. Satan is a redneck junior high school principal who plays the accordion, and Simon agrees to the deal and becomes a huge success in show biz, with the audiences laughing hard at his offensive jokes. The simple plot with a twist continues in an outrageous, heavy-handed, but uninteresting way. It doesn't fit together very well, and the film is disappointing. "Crocodile Tears" is an original version of the "Faust" legend, and the acting, sets, and production values are OK for a low-budget independent movie. Ann Coppel directed this dark comedy, adapted by executive producer and actor Ted Sod from his own AIDS-themed play "Satan and Simon DeSoto".

Breaking the Surface: The Greg Louganis Story (1996)

This film is about is about the tough times Greg Louganis (Mario López) had on his way to becoming one of the world's top Olympic divers. Gregory ("Greg") Efthimios Louganis is an American diver, who is best known for winning back-to-back Olympic titles in both the 3 m. and 10 m. diving events. He received the James E. Sullivan Award in 1984 as the top amateur athlete in the United States. Louganis is of Samoan/Swedish descent and was raised in California by his adoptive parents, a Greek-American couple. At age 16, he took part in the 1976 Summer Olympics in Montreal, where he placed second in the tower event. Two years later, he won his first world title in the same event. He was a favorite for two golds in the 1980 Summer Olympics in Moscow, but an American boycott of the games prevented him from participating. Louganis won two world titles in 1982, and in the 1984 Los Angeles Olympics, with record scores and leads over his opponents, he won gold medals in both the springboard and tower diving events. After winning two more world championship titles in 1986, he repeated his 1984 feat in the 1988 Seoul Olympics, although not without difficulties. In what is considered one of the greatest feats in sporting history, Louganis suffered an injury, hitting his head on the diving board during the preliminary rounds while performing a reverse 2 1/2 pike. He completed the preliminaries, despite a concussion, then went on to repeat the dive during the finals, with nearly perfect scores, earning him the gold medal. His incredible comeback earned him the title of ABC's Wide World of Sports Athlete of the Year for 1988.

Louganis posed nude for Playgirl magazine in 1987. In 1994 Louganis announced he was gay and took part in the 1994 Gay Games as diving announcer. He also performed an exhibition of several dives to a standing-room only crowd of nearly 3,000 spectators. Following the announcement of his HIV status, Louganis was dropped by most of his corporate sponsors, with the exception of the aquatics gear manufacturer Speedo, which continues to sponsor him as of 2007. Based on the superior book by Greg Louganis and Eric Marcus, this made for TV movie is a very good profile of an impressive star athlete. Steven Hilliard Stern directed.

Staircase (1969)

Charles Dyer (Rex Harrison) and Harry Leeds (Richard Burton) are a middle-aged gay couple that have been living together for nearly 20 years. Both earn a living as barbers in the West End of London and both care deeply for their mothers, but not each other as time apart takes its toll on their relationship when Harry has to care for his invalid mother who constantly snaps at him. Harry is round, fearful, fussy, and possesses a terrible secret. His head underneath the fake surgical bandages is bald. Charlie, in his fifties and still handsome, is a waspish queen who favors tight pants and a little make-up around the eyes."It's permitted now, you know, Harry. It's permitted," says Charlie, who says everything twice. That is just one of the things that drives Harry nearly crazy. Harry and Charlie are exploited as gay freaks, because Burton and Harrison are interesting actors whose styles command attention even when the material does not. "Staircase" is essentially a stunt movie, full of substitutes: false teeth, false hair, and feminine pronouns for masculine.

What story line there is concerns the increasing tension between Harry and Charlie as the latter prepares to answer a summons for having appeared at the Adam's Apple nightclub in drag, or, as the summons put it: "in a manner calculated to bring depravity." Harry reassures Charlie that everything will be all right, and Charlie, in turn, can't resist heaping insults on Harry, whom he describes as flabby, wrinkled, paunchy, freckled, sagging, bloated and veined, among other things. But so is everyone in the film, from the male hustler Charlie brings home one night to Harry's arthritic old mum (Cathleen Nesbitt), who lives with Harry and Charlie. The movie, like Charlie, says everything at least twice, and Charlie's mum is no better, a 90-year-old lady whose mind is turning to pudding in an old people's home, but who comes to her senses long enough to scream "Sodomite!" when Charlie comes to visit. The two stars seem uncomfortable, perhaps to call attention to the real distance that exists between the actors and their roles.

The film is adapted from Charles Dyer's 1966 two-character play with the action taking place over the course of one night as they discuss their loving but often volatile past together and possible future without each other. Dyer adapted his play for the movie and opened up the script to show the couple's neighborhood, expanded the action to cover a period of ten days, and added characters. The music score was composed by Dudley Moore. Stanley Donen directed.

As Good as It Gets (1997)

Set in NYC, Melvin Udall (Jack Nicholson), is a cranky, bigoted, misanthropic writer who has his life turned upside down when neighboring gay artist Simon Bishop (Greg Kinnear) is brutally beaten and hospitalized. His dog Verdell is entrusted to Melvin. He insists on sitting at the same table at the same restaurant each day. Carol (Helen Hunt), the only waitress who will tolerate him, must leave work to care for her sick son, making it impossible for Melvin to eat breakfast. Because his obsessive-compulsive disorder requires a structured routine for him to maintain his sanity, Melvin arranges for a doctor to help her son at no charge. She shows up at his doorstep in the rain and tells Melvin she will never have sex with him. Melvin and Carol drive Simon to his parents in Baltimore to obtain money. They return to Manhattan, and Simon learns that Melvin has taken him in because Simon's apartment has been sublet, allowing Simon an opportunity to get back on his feet. Carol and Melvin resume their attempts at a relationship, with Carol resignedly telling Melvin it won't work because, "All you do is make me feel bad about myself." In unfamiliar territory, Melvin struggles to compliment Carol. He goes on to say that she represents everything that is good and right in the world, the balance he needs to deal with his disorder, and life in general. They kiss. The movie ends with Carol and Melvin walking into a bakery early in the morning, and Melvin no longer compulsively avoids sidewalk cracks.

Jack Nicholson won a Best Actor Oscar, and Helen Hunt won a Best Actress Oscar for their performances in this witty romantic comedy. Enough said? Mark Andrus wrote the screenplay from his own story. James L. Brooks directed.

Outrageous! (1977)

Gay Toronto hairdresser Robin Turner (Craig Russel) is a very talented female impersonator who does an act in local gay clubs. His roommate is Liza Connors (Hollis McLaren), a high-school friend who is now pregnant and recently released from a mental hospital where she was being treated for schizophrenia. She is determined never to return to the hospital again, and he wants to be a show-business success with his impressions. When Robin loses his job, the two try their luck in NYC at the "Jackrabbit Club". His perfect impressions of Bette Davis, Barbra Streisand, Carol Channing, Tallulah Bankhead, and Mae West make a splash. But as Robin's star rises, Liza spirals into misery and madness. Robin and Liza need each other, and this can be explained by their total acceptance of one another. They both have to take chances in life, but as Robin says, people treat, “life as though it’s a can of Coke, and they’re afraid to drink it too fast.” Hunky gay cab driver Bob (David McIlwraith) meets them, and as a former talent agent agrees to represent Robin and gets him a job at "Ziggy's Cabaret", where he becomes their sensational star attraction. Liza goes to the hospital to give birth, but the baby is stillborn. She goes into a deep depression, believeing she is "the one born dead." Robin replies "You're not dead. You're alive and sick and living in New York like eight million other people." He tells Liza that yes, she's crazy, but she has to make that crazy work for her. "You’ll never be normal," he says, "but you’re special.” The film ends with Robin and a recovering Liza dancing madly together.

This show-business cult comedy with a twist is a great, touching, and sincere 1970's period peice with charming performances by all. It's a gay classic with sad and campy fun moments. Craig Russel's many impersonations are the best in cincema history. He worked as the private secretary to Mae West, so he could impersonate her perfectly. Richard Benner directed from his own script based on Margaret Gibson Gilboord's short story.

"Too Outrageous" (1987) is the somewhat disappointing sequel to "Outrageous!". It is a better production, with a bigger budget, better cast, and Craig Russell has a very attractive boyfriend. Robin Turner, the hairdresser-turned-female impersonator who began his nightclub routine in the earlier film, is still playing in small clubs, and his devoted friend Liza Connors (Hollis McLaren) hasn't yet fulfilled her dream of becoming a successful writer. The film tells what happens after Robin is discovered by a pair of agents who are intent on making him a big star. The agents, particularly a woman named Betty (Lynne Cormack), gush about what great potential Robin has, and dream of revamping his act so antiseptically that they can bill him as ''Canada's Comic Illusionist", instead of the specialty performer that he really is. Robin gets even when he appears on a live talk show and lets the world know that its host is gay. They deal with AIDS in this one, but it seems out of place with the rest of the movie. Russell works best when left to his own devices. He's better off wisecracking and performing than he is anguishing over his professional future. The film also features a female impersonator named Jimmy James, who looks uncannily like Marilyn Monroe, and Robin exclaims "He's good!". Once again Richard Benner wrote the script and directed.

Apartment Zero (1988)

Set in Buenos Aires, the film centers around a relationship between two roommates. Adrian LeDuc (Colin Firth) is a lonely sociopath who is forced to rent out his crazy mother's room due to poor ticket sales at his revival-house cinema. Jack Carney (Hart Bochner), the mysterious new roommate, appears normal, charming, and outgoing at first but it becomes apparent that he is hiding something. They quickly settle into a domestic routine, with Adrian taking over laundry and cooking duties for Jack, and they also begin to bond emotionally. As their friendship develops, Adrian is attracted to him and suppresses his suspicions that Jack may be the government mercenary turned serial killer who has been terrorizing the city. Dead bodies are found in the streets, murdered for political reasons. The other eccentric residents of the building begin to worry as Adrian shows increasing signs that his mother's insanity may be hereditary. Jack has sex with a female neighbour, and it is implied that he also has sex with two male neighbours. Then he falsifies Adrian's passport and prepares to leave Argentina. Unfortunately, the passport is expired and he can't leave. Jack picks up a gay man at the airport and goes to a hotel with him, where he murders him for his passport. Adrian is devastated by the death of his mother, and Jack turns out to be Michael Weller, listed as "dead" by the death squd. Jack kills Claudia (Francesca d'Aloja), the ticket seller at the cinema and part of the committe investigating the political murders. Adrian helps dispose of the body, then eventually kills Jack. The shocking climax of this twisted tale of deceit, perversion and murder reveals the darker side of the human psyche. Suffused with homoerotic overtones and moments of black comedy, the name "Apartment Zero" comes from apartment number, 10 with the 1 missing. Martin Donovan wrote the screenplay and directed.

Tantrums & Tiaras (1997)

This documentary is about gay musical composer Sir Elton John during 1996. With unprecedented access to the star, it's a fascinating, funny, and honest fly on the wall look at the temperamental artist directed by his civil partner David Furnish. Excellent concert and behind the scenes footage leaves nothing to the imagination. Foul language abounds, but it all adds to the magic of this fascinating insight into one of Rock's most successful solo artists. Elton's tantrums are abundant, his performances on this film are great, and there is never a dull moment. There are only two major tantrums. In the first Elton becomes upset during a video shoot for "Believe", saying he hates making music videos. His second tantrum occurs when he is playing tennis and is recognized by a fan. Throwing the racket, he stomps off court, returns to his hotel, and makes arrangements to fly home. Later, we find out Elton had calmed down and canceled his plans to leave.

One interesting scene in the film comes when Elton John's mother sits down with her son to discuss his career. When she begins to recall his drug use in the 1970's, she asks that the camera be turned off. After Elton reminds her they agreed to do this in front of the camera, she continues the story and starts to cry. We are also briefly introduced to his very elderly grandmother. Elton is very open about his addictions to drugs, food, and shopping. He talks about his contract with his record company and the fact that his relationship with them is very good. The DVD has a 2008 audio commentary by Elton and David Furnish reflecting on the changes since 1996. There are also 11 deleted scenes, and they are all good. This made for TV documentary is a fine portrait of a legendary rock star. David Furnish directed.

À toute vitesse (1998)

This French drama explores the complex relationships between gay and straight youths in multi-racial France. During the prologue, shy Algerian teen Samir (Mezziane Bardadi) and his best friend Rick (Romain Auger) rub bloody fingers together as they make a blood-brother's pact. Suddenly a shot rings out and Rick dies of a bullet wound in Samir's arms. Gang leader Jimmy (Stéphane Rideau) is best friends with sensitive writer Quentin (Pascal Cervo), who wants to turn his back on his friends to pursue his career. He won a writers contest and signed a contract to publish his first book, a chronicle of his friends' activities. Now he pays more attention to his career as an author than to his friends or his girlfriend Julie (Élodie Bouchez). Meanwhile university student Julie is becoming attracted to Jimmy, while bereaved Samir is in love with Quentin, who meets him at a party one night. Interested in finding more material for a second book, he gets Samir to tell about his relationship with the late Rick. It's difficult, but Samir complies even as he finds himself increasingly attracted to Quentin. When Quentin rejects Samir, it encourages him to reject his own past and enter into an intense relationship with Jimmy and Julie that will end up changing his life.

Out" magazine wrote that "À toute vitesse" "plays like a modern "Rebel without a Cause'" or "Splendor in the Grass", but this movie never really gets out of first gear. Although it was an official selection at the Cannes Film Festival, it is somewhat of a disappointment. Paying tribute to the rush associated with reaching the age of 20, this fast-paced sexually charged drama with the metaphor of speed to life lumbers a bit in its symbolism. It has its moments, but its aim seems to meander a bit, leaving a few loose ends. Cinematically the film is strong, especially as a debut film for its director, Gaël Morel--who also wrote the screenplay with Catherine Corsini. The English title is "Full Speed".

Taxi zum Klo (1981)

Frank Ripploh (Frank Ripploh) is a bearded and shaggy-haired teacher. He's gay with a very active sex life and an interest in making films. Frank keeps his personal life and teaching separate, but he sometimes corrects student papers in public toilets as he waits to score. He cruises in porn cinemas, where one night he meets Bernd (Bernd Broaderup), a theater manager. They share a romantic relationship, but Frank's restlessness and need to cruise get in the way. Though he seems to enjoy Bernd's plans for retirement, he also wonders if he'll ever lose the urge to hunt the streets after dark, and have enough money after retirement to hire young boy prostitutes. While Bernd is attentive and caring, Frank gets bored and continues his promiscuous lifestyle. An explicit sex scene occurs mid-film and upsets Frank and Bernd's domestic bliss. How long will Bernd and Frank tolerate each other's habits, and for how long can Frank keep his sexual orientation out of the classroom? Ripploh's hairy bum crack plays a major role in proceedings--it's the first object we see in the movie, and he spends most of his home time in a T-shirt only, bending over and doing calisthenics with no underwear. One scene has Frank at the doctor for an anal wart examination, and nothing is left to the imagination. A lot of old black and white German gay porn is interspersed throughout. Things come to a head during Berlin's annual Queen's Ball and the morning after. The film ends with a pleasant party scene and everyone seems fairly happy with the free atmosphere and gay sex.

Director Frank Ripploh takes an autobiographical approach to filmmaking with this comic exploration of gay life in Berlin in which he plays himself. He also wrote the script. This edgy, intelligent movie has a high status in the history of gay-themed cinema. The Village Voice called it, "The first masterpiece about the mainstream of male gay life". Wayne Koestenbaum called it one of the greatest gay-themed films ever, and said it still blows his mind with its "happy explicitness, its cheerful liberatory politics". In German with English sub-titles, the English title is "Taxi to the John".