MARK O'CONNELL

Writer, Author, Bond Fan

Tag: Looking

TRANSLATABLE – should Eddie Redmayne be a Danish Girl?

garp-lithgow-robin-720x402“Here we go again” remarks Paris Lees in Attitude magazine about how she disagrees with the casting of a man – one Eddie Redmayne – as trans-pioneer Lili Elbe in upcoming drama Danish Girl. Presumably then Paris Lees has no problem with Redmayne playing Einar Mogens Wegener – the identity of Lili before her transition? Or is it just after that point in the character’s timeline we are to re-cast the role so as to utterly confuse the audience as long as a principle will be safeguarded?

Maybe the here we go again mantra could also be applied to the kneejerk copy-filling reactions straight from the invisible box marked “I am offended“. Presumably Lees was also very against the New Yorker Meryl Streep playing the Australian Lindy Chamberlain in A Cry in The Dark, Mark Rylance playing Thomas Cromwell in Wolf Hall when rumour has it he was not actually born in the 16th Century at all or that Daniel Craig playing a secret agent when he isn’t one?

The first TV gay couple I ever saw was Barry and Colin in mid 80s EastEnders. As a closeted gay eleven year old terrified of being gay and terrified of watching gay characters on TV, I would turn down my bedroom TV set when Dynasty‘s Stephen Carrington was on for fear me watching it would ‘out’ me to the world (note : I did not care or even know that the actor Jack Coleman was not gay). To watch Barry and Colin leading dull, ordinary lives was more important to me, more of a important lifeline than worrying that one of the two actors was not actually gay. Likewise as a gay guy I don’t care that the straight Tom Hanks plays queer in Philadelphia and gets a well deserved Oscar. Suddenly mainstream, early 90s film audiences were reminded of the AIDS epidemic and its cruel reality. That is more important to me than going all Uncle Tom’s Cabin on a film’s ass when – like Lees – I haven’t even seen said movie. I don’t care that [maybe] a quarter of the Looking cast are straight as the writing speaks to me and my partner more than any other gay drama has for years (and is more adept than the likes of EastEnders at introducing trans characters without fanfare). No-one cared that the actress Linda Hunt won Best Supporting Actress in 1984 for playing a man (and not a trans man) in The Year of Living Dangerously. She won it because she was the best performer in an incredible performance I didn’t know was a woman for years. Likewise, I don’t care that gay actors have been playing straight family men onscreen since the Lumiere Brothers sold their first box of popcorn. The history of gay representation (for good or bad) is still gay history. The same will surely be said for trans representation, no?

Having been involved in some casting sessions involving LGBT characters, the upshot question is always “is this actor great for the role?” – not are they gay or are they straight, trans or not trans? The recent Kingsman – The Secret Service cast an able-bodied woman as a blade-footed assassin. It is utterly comic book fare, but suddenly idle copy makers and self anointed spokespeople are up in arms (be they real or prosthetic) that no paraplegic actresses were cast for the role. The producers purported response is that no paraplegic actress was right for that particular role. Now suddenly the cause of disabled actresses the world over has been dealt a substantial blow and we are all 1950s bullyboys who kill kittens and stop black kids getting on the school bus. Never mind that London 2012 made heroes and household names of our disabled athletes because they were fast and good at their sport, NOT because they were disabled. But meanwhile in the real world (where a lot of disabled folk don’t have the time or energy to be constantly offended as their day to day life takes enough effort), some kid born without any workable legs is passing a cinema and seeing a poster of a rather cool paraplegic character in a popcorn flick, being what they are (physically) and looking damn cool to boot. I doubt very much if such a kid races home to instant IMDB disappointment to realise the actress in question was actually able-bodied and the blades were merely CGI. I hate to tell folk but Chiwetel Ejiofor didn’t actually spend twelve years as a slave, Boyhood’s Patricia Arquette is not actually Ellar Coltrane’s mother and Daniel Day Lewis has not only never been president he can walk on his left foot too. So surely we need to be grown up and assume that trans characters should be afforded the same stories regardless of who plays them. And before I get accused of equating being gay with being trans, I am not. Likewise, when someone has no problem with a man playing a trans woman I do not expect to be labelled ‘trans-phobic’ – a red card which gets held up far too often.

No-one is saying that trans actors and stories should be grateful for what ‘crumbs’ they get. The likes of EastEnders, Banana, Hollyoaks, Orange Is The New Black and Trans Parent are finally and rightfully addressing the balance at long last. However I am reminded of Harvey Feinstein defending really bad and camp portrayals of gay men in the Hollywood of the 1930s and 1940s in The Celluloid Closet. It wasn’t an easy conclusion he states, but it was maybe a wise one – it was ultimately better to be represented badly onscreen than not at all.

My first awareness of an onscreen trans character was John Lithgow in the brilliant The World According To Garp (1982). He was a support character, but gave it great Oscar-nominated dignity, humour and femininity. I was instantly aware of a lady figure in the story, a trans character and that trans people are out there and getting on with their lives. I was not hitting a wall of confusion and offence because the actor John Lithgow was actually a straight married man and not a trans woman.

And as for Lees being anti Redmaye in Danish Girl? This business we call show is still a business. Current market realities would probably see an unknown trans actress playing Lili Ilbe and the film crash and burn at the one screening at the Brixton Picturehouse on a Tuesday afternoon. Maybe getting the film out there, with all the subsequent debate and idea-challenging notions of trans life (both then and now) sees the casting of Redmayne as wholly apt and dignified. Even if the debates are about whether it is right for a straight man to play an individual who was always a woman, the debates are being had. Redmayne may well grab a second, successive Oscar for the role and high street audiences become a little more clued up on the trans condition by way of one particular trans pioneer.

Could a trans actress play the same role? Of course she could. And of course she will one day. Will a 2014 trans actress attract the budget and profile for such a story to come to production and exhibition fruition? It’s [currently] questionable. The producers of Danish Girl are reported to have been very careful with their casting decisions. Trans actors have been sought and fill out other roles and Redmayne allegedly got the gig over the likes of Nicole Kidman. Just as Maxine Peake does Hamlet onstage to blistering effect and proves that the best performer got the role maybe – just maybe – Eddie Redmayne got the role because he has nailed the soul, dignity and fight of the part. His pre-Oscar bankability was certainly not hoping to shift units on his name alone.

As Laurence Olivier once calmly remarked on-set to a method-obsessed Dustin Hoffman who couldn’t understand his lack of character preparation… “it’s called acting dear boy“.

EYES WIDE OPEN – Reviewing LOOKING’s second glance

Opening on a quietly hilarious riff on the all-macho city-break that is Deliverance, Season 2 of HBO’s intelligent, honest and razor-witted Looking once again rows gloriously upstream against the tide of gay telly clichés with a tighter confidence one only gets in the sophomore year.

I really think that this weekend should be about the three of us together, not two hundred naked homos crammed in a pool” – Patrick (Jonathan Groff), Episode 1, Season Two

LOOKING 2 1Of course it is not long before Patrick’s sober plans to hug ancient redwood trees and observe rare woodpeckers are swiftly replaced by booze, pills, plentiful peckers of a different kind and doing all sorts of nocturnal things against trees. One party invite from some sandbank-partying homos (“bring the clone and the seal pup!”) and a camp Cockette-ish fawn giving directions in the moonlight and we’re off – lost in music amidst a glorious opener marked by savvy slo-mo, some sharp editing and rich photography, a Sister Sledge classic and some pretty hot censor-baiting loving.

So where are our triumvirate of characters now? Ex-artist and career narcissist Augustin (Frankie J. Álvarez) is still trying to be less Augustin with varying success. Pop-up restaurateur wannabe Dom (Murray Bartlett) is now playing gay rugby and half-dating the “Dame Gladioli of The Castro” and flower shop mogul Lynn (Scott Bakula), but still over-panicking at the hands and minds that want to help him. And unlike the audience, main character Patrick (Jonathan Groff) appears to be over the soulful, barber boy Richie (Raúl Castillo) and the romance which so marked out Looking at the non-cynical tableau of gay American life. Or is he…? Following the end-of-season cliff-hanger (though Looking is not really a cliff-hanger show – it just ends on perfectly random anthems and bittersweet conclusions), the single Patrick is now seeing British software boss Kevin (Russell Tovey) who it seems is far from single. Series Two very quickly (though quietly) does not want us to like this new direction for Patrick.

Afraid to tell close friends Augustin and Dom he has been seeing Kevin all over the workplace, over-sensitive Patrick is however more confident about sex – both doing it and talking about it. The joy of Looking is the raw, fresh and recognisable dialogue. Looking talks like people talk (“straight people never have to think about squirting water up their ass before sex”). It is not about being candid or shocking. It is about being real. Part of the continued authenticity in season two is that – from the outset – these three characters believe they have evolved and learnt their lessons. The show naturally has to update and evolve. But Looking knows life is not like that. There is of course a sense of progression, but possibly marked more by the side characters taking to the story podium too. This is still Patrick, Dom and Augustin’s gig. However, Wave Two of Looking astutely lets some the support figures evolve proceedings too.

LOOKING 2 2We learn more about Tovey’s Kevin and his British childhood in Romford (“is that like Wimbledon?” wonders Patrick). He confesses to adolescent stirrings over breakfast TV to boy-band Take That (and many a Brit guy of a certain age will wholeheartedly attest to taking that as all we could get pre -internet) and the click-rate on one of the band’s earlier twinky videos will rise when folk see Kevin’s rendition of the dance moves in question. He is not painted as such, and it is because he is not the kind Richie (in many ways the most personally sorted and clued up of all the Looking characters), but Kevin increasingly feels like the series villain despite thawing towards Patrick when their sex life finally finds a bed rather than a works store cupboard to continue in.

Of course firecracker fag hag Doris (the brilliant Lauren Weedman) is on early hand to lead the boys astray – “so you guys thought you were going to have your little sausage party without me?!”. But instead of being some comedy appendage, or “catnip for the lesbians” as she describes herself, Doris is soon afforded her own love story as the forty-something party girl meets her own [tangled] love story. Though that is very much after we are told Doris was last seen at the redwood party topless on a jet ski and offering a Navy salute to the lesbians. And there is a new character in the bear-shaped, Trans support worker Eddie (Mean Girls’ Daniel Franzese) – “the hairy assed mother of the Mission”. One moonlit skinny dip later and the kind Eddie is soon embarking upon a steadier, purer friendship with Augustin that the latter might be used to. Added to that, Castillo‘s Richie is accidentally back in the mix (yay!) and Bakula’s Lynn is possibly a gift horse with sharper teeth than Dom imagined.

When it launched in early 2014, everything the detractors threw at Looking was exactly why it worked. As Season Two underlines now even more, it is still not a peaks and troughs screaming cliché of a comedy-drama. If anything – and this is possibly the point – Tovey’s gossip-shy Kevin is the queer cliché, the less content and more troubled victim of the piece. Kevin is soon part of the uncomfortable Richie/Kevin dilemma Patrick is battling with – all of which is heightened with the latter’s scary talk of work-visa expirations and asides about gaining citizenship through marriage. At least Augustin’s problems don’t stem from his homosexuality. Or Dom’s. Or even Patrick’s. They might think they do with a private sense of martyrdom that some gay guys are wont to have, but the skill of Looking is it adeptly pricks all that with narrative ease and a scathing quip – always suggesting the characters fears, inadequacies and paranoia are actually universal to us all.

HIV/AIDS and the [now] higher agenda of the Trans communities situation have a greater presence than Season One. Hypochondriac Patrick gets a whole episode to worry that letting the bed bug bite might be something worse in a town where HIV tests are “given out like coffee stirrers“, and bear Eddie’s “Home In Virginia” status and telling tattoo is introduced with an ease and normalcy San Francisco has of course had to become the master of.

The momentum of the glorious nirvana that is the opening episode is somewhat lost in the couple that follow, but that is no fault. Every triumphant weekend needs a comedown – especially in San Francisco. Still sharply aware of the corridors of social media all our thumbs roam up and down (“You can’t shout at a homeless person…homeless people have Twitter accounts“), show runner Andrew Haigh, creator Michael Lannan and fellow writers are now free of the need to establish these characters and their world. Now is the time to enjoy the series template they have established. San Francisco is still the fairy godmother to the show, but without the gay landmarks turning into postcards of themselves. This is still a very familiar gay-by-the-Bay town. With a clever and often joyous soundtrack (continuing Looking’s musical habit of reminding you loved certain tracks you haven’t heard for years), it is already a TV privilege to be in these character’s company again.

https://www.youtube.com/watch?v=oLTCEMqDR84

 

Season 2 of Looking begins in the US on January 11th 2015 and in the UK on Sky Atlantic at 2255 on 5th February 2015.

Some thoughts on Season One of the show, Through the LOOKING Glass.

With thanks to Sky Atlantic and HBO.

 

Through the LOOKING glass… HBO’s new gay by the Bay series reviewed

LOOKING2From an opening fumble in the cruising bushes of a San Francisco park, HBO’s new series Looking makes great play of not really being another gay show that starts with an opening fumble in the cruising bushes of a San Francisco park. Our main guy Patrick (Jonathan Groff) is already on the phone joking with his nearby pals like friends lost in a zoo no-one visits anymore. Already the path-paving brilliance of Russell T Davies’ Queer As Folk and its American remake cousin with all their nubile young lovelies and their helium heels hauled skywards now somehow seems so turn of the century.

Less a gold lamé baton handed on from the hindsight, camp and shock of Tales of The City, Will and Grace and Queer As Folk respectively, HBO’s Looking is not about running forwards. Like British director Andrew Haigh’s previous [and pitch-perfect] feature Weekend (2011), this is about half-seen exchanges outside busy bars and stolen conversations on various Lower Haight sofas as the work talk and weed pipes get passed round as inconsequentially as the prawn crackers from a Thai takeout (not a euphemism!). “I’m proud of you – you’re a pervert now” dismisses one of Patrick’s friends as Looking quickly proves it is not about coming-out stories, Cher gags, fantasy Madonna dance-offs in the bus queue or bottom licking commotions. This is not Sex And The City but just done with gay men replacing the ladies. We’ve had that. It was called Sex And The City.

Everything the possible detractors will level at Looking is exactly why it works. It is not a peaks and troughs screaming queen of a comedy-drama with sexual pratfalls and verbal grenades. Nor does it wear its politics on its leather/denim/tattooed sleeves. Equal marriage, Prop 8 and DOMA is not its agenda as it is not all of ours either. The show and us are aware of the principles at stake, but how many of us really fuss about it 24/7? When very straight comedies and dramas are tapping gay marriage as a narrative normality, it would be wrong of Looking to be throwing its bouquets out the pram in every episode (a wedding episode obviously touches upon such matters but from Patrick’s perspective of messing life up with his intended plus-one).

The opening story especially is a wilful almost inconsequential slow build – an afternoon-paced overture to these characters lives that may lose some viewers, but please stick with it. Episode Five is a beautifully languid Before Midnight exploration of a day off in Golden Gate Park, the planetarium and the kind of affecting character interplay which only Haigh’s Weekend ever got right in recent times. Yes, Looking is savvy enough to throw in a Golden Girls put-down (what isn’t, Rose?), but its gay pulse is not predicated on them.

Spring-boarding off creator Michael Lannan’s previous short film Lorimer (2011), there is actually an affecting delicacy to the lives and exchanges of games designer Patrick, lost artist Augustin (Frankie J Alvarez) and nearly-forty waiter Dom (Murray Bartlett). Like San Francisco itself, the differences and expressions of everyone’s sexuality is a given. There are no closeted jocks or intimate-shy handmaidens here. Moving too fast is a deliberate fault of some characters sex lives, but never the show’s writing or insight into at least three generations of contemporary gay men. These are [almost] nice people doing their thing – the Augustin character is a deliberate hard sell and carved with such pitfalls of attitude one realises he is totally familiar. The difference here is that for gay audiences – for good or bad – this is our thing now; and as one character astutely notes, “guys are guys”.

A key motif of Looking is “being who we think we are”. For the trio of main characters “looking” is indeed key. But looking for what? Maybe some are looking for love, intimacy, a better street to live on, better praise from their peers, better sex from a threesome (or not) or just looking for others who are also dissatisfied with their lot to validate everything (Augustin’s problem). All held together with a solid cast, the show slowly pulls you in. Whilst how Groff’s Patrick really knows Alvarez and Bartlett is perhaps not flagged up enough early on, the friendships are believable with a pleasing short-hand and explanations do arise without surprise.

Likewise Lauren Weedman’s Doris is a savvy, bubble-bursting best mate, Raúl Castillo’s Richie is a hot and kind Mexican and Scott Bakula is an old guard Castro florist with age and hindsight on his side – “we still had sex, but it was friendlier” he notes about the one-night stands of the 1980s and 1990s. Cyber-dating is of course a support app of the show – unavoidably used but not exclusively. Though there will be many a moment when some of us in the audience look to our overpriced brogues with acute embarrassment at the behaviour on show. Patrick and pals research their past and present dalliances and shag-obsessions on the Instagrams, okaycupid.coms and Grindrs of this world. Characters over-worry about the Instagram photos of a dinner date and the successful exes now with their own Wikipedia page. But their real stories are often advanced from chance encounters on the MUNI train, accidental glances through a bar doorway, in an empty sauna and works drinks nights. The relationship between Patrick and Richie is particularly lo-fi, not remotely reliant on new technologies. The politics of “friending” on social media and being “an 82%” match“ is rolled out, but so too are the real-life concerns about what messages Patrick gives his new Brit boss Kevin (Russell Tovey) when working overtime on a Sunday and when exactly does a three-way become a problem or a plus? And just when is it no longer polite to mock the Brits after too many bottles of free Bud?!

But is it identifiable to non-San Franciscan, non-American audiences? Of course it is. In the same way Haigh’s Weekend chimed with Top Ten film lists the world over, Looking is a wholly identifiable show, carved with the same incisiveness of its creators previous work. “If I was embarrassed about it, I wouldn’t do it” is a telling line from content, well-earning sex-worker CJ the adrift artist Augustin desperately wants to be like. Not every piece of dialogue need be a barnstormer. Not every quip requires its own t-shirt. Though “you gave him a winky, smiling face? What are you – a Japanese teenager?might do the rounds. It is never a glib show. Nor is it a dot.com, labels and luxury lifestyle fest. With an easy blend of ages and social backgrounds, Looking is thankfully never about whiny, white rich gays. The basement apartments, corridors and streets of Looking are worn and lived in. Like the characters and their love lives, not everything is new and shiny but all of it is functional. That is what San Francisco affords this series. And that is why it is the vital fourth character. Real-life Castro drag artists Peaches Christ and Honey Mahogany are on well-manicured hand, the Castro Theater cinema is the noble granddame backdrop it always has been, the leather-bound Folsom Street Fair plays itself to great effect mid-way through the series, Dolores Park plays Dolores Park, The Stud bar is a location must and the forever-vintage streets of Mission Dolores, Market, the Castro and their pizza [and men] by-the-slice sidewalks are recognisable to anyone familiar with the worlds of Maupin and Milk. What San Francisco brings to Looking is what the show itself gets very right. It is that sense of community, of a neighbourhood of characters and shared experiences often ticking over through nothing but an inexplicable and shared shorthand.

We may not have had the best timeline of televisual representation over the decades. But what doesn’t always embody us makes us stronger – and all that article-writing jazz (maybe).  The landmark likes of Tales of The City, Queer As Folk, Will And Grace, Angels In America, Beautiful People, Queer As Folk and the queer Carrington boy in Dynasty may have been all we had. But they were still ours. Looking represents a smart new chapter. Season Two has been greenlit and audiences – despite a minority of initial and lazy reactions declaring “it’s boring” (it’s not) – have grown and spiked just as the series and its wise writing has. And in the fun, warm, unexpectedly raw, real and fresh-telling style it has on offer, going through this Looking glass could well bring us to a wonderful wonderland.

 

Looking began in the US on HBO on January 19th 2014 and in the UK on Sky Atlantic on January 27th 2014.

 

Mark O’Connell is on Twitter and the author of 1980s gay childhood memoir, Catching Bullets – Memoirs of Bond Fan. With thanks to Sky Atlantic.

LOOKING – HBO goes gay by the Bay

“I have always been rather better treated in San Francisco than I actually deserved.” – Mark Twain

LOOKING3

With a candid, fun, emotional, unpredictable and very contemporary tale of gay by the Bay life in 2014 San Francisco, HBO’s imminent comedy-drama Looking is to set a few tongues wagging, a few hearts pounding and a few digital-daters looking to their overpriced brogues in acute embarrassment.

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What HBO say :

“Looking offers up the unfiltered experiences of three close friends living — and loving — in modern-day San Francisco. Friendship may bind them, but each is at a markedly different point in his journey: Patrick (Jonathan Groff) is the 29-year-old video game designer getting back into the dating world in the wake of his ex’s engagement; aspiring artist Agustín (Frankie J. Alvarez), 31, is questioning the idea of monogamy amid a move to domesticate with his boyfriend; and the group’s oldest member — longtime waiter Dom (Murray Bartlett), 39 — is facing middle age with romantic and professional dreams still unfulfilled.

The trio’s stories intertwine and unspool dramatically as they search for happiness and intimacy in an age of unparalleled choices — and rights — for gay men. Also important to the Looking mix is the progressive, unpredictable, sexually open culture of the Bay Area, with real San Francisco locations serving as a backdrop for the group’s lives. Rounding out the Looking world are a bevy of dynamic gay men including Kevin (Britain’s Russell Tovey), Lynn (Scott Bakula), and Richie (Raul Castillo), as well as a wide-range of supporting characters like Dom’s roommate Doris (Lauren Weedman), Agustín’s boyfriend Frank (O.T. Fagbenle), and Patrick’s co-worker Owen (Andrew Law).”

LOOKING

 

Directed by Brit director Andrew Haigh (whose feature Weekend regularly frequents global lists of the top LGBT films of all time and is one of the most honest, incisive looks at British thirty-somethings regardless of sexuality) this HBO-produced 8 part series is a frank, fresh, political, post-Grindr and purposely zeitgeist-steered look at all kinds of looking in the one city in the world where every street has a view and every view has a story.

LOOKING4

Shot in the Fall of 2013 throughout the city, Looking features such fitting locales as The Castro and its pizza [and men] by the slice culture, the legendary Stud Bar, the leather-bound Folsom Street Fair, the Morrison Planetarium at the California Academy of Sciences, the remnants of the Sutro Baths and Mission Dolores. Added to that ample location support cast, Looking peppers this first series with apt nods to and appearances by San Francisco’s real-life LGBT cast members (including the vixen cine-matrix herself Peaches Christ and Midnight Sun’s Honey Mahogany).

Looking debuts on HBO in the US on January 19th 2014 and in the UK on Sky Atlantic on the 27th January 2014.

A review will follow.

http://www.youtube.com/watch?v=wnGwmP8qg2c

And if you haven’t seen Andrew Haigh’s previous Weekend, then it is a British-must!

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