Nicholas T. Proferes and points up, without undue exposition, the various shape in different men that this avoidance takes.
Jamey Sheridan, above, that ought to be remembered at awards time), is a widower who has relocated to a small town where he's a small business owner now somewhat estranged from his adult son, who lives in another state. He is also clearly the town's good-looking and most sought-after older man. In one of the early scenes, the waitress (Karen Young) in the local diner propositions him, and his reaction to her offer of a blow job seems strikingly off-base. Then an old navy buddy (Steve Buscemi, shown at right, below) calls to inform Harry that he is dying and needs to do penance for the past -- setting off a road trip that brings up everything Harry has spent the last 30 years trying to keep buried.
rapher (Nigel Bluck) and editor (Keiko Deguchi) steep the frame in smoky beauty and keep the images coming -- and changing often enough that we never tire of looking. The past is recalled as a kind of paradise -- whether it be the music of a piano duet, listening to jazz in a 60s bar, love, sex or companionship. The hell of the present is envisioned via the lives of Harry's four ex-Navy buddies (Buscemi, John Savage, Aidan Quinn and Titus Welliver). Each actor is sensationally right in his role, bringing a full measure of truth and an emotional grounding to his few minutes of screen time.
Brokeback Mountain, and another volley in the cinematic war on America's blinkered view of sexuality, particularly male sexuality -- realizing that this is much more complicated and varied than either religion or the state is ready to admit.
Mariann Mayberry). But his deepest attraction is toward that early male partner from his Navy days, brought to rich life as an older adult by Campbell Scott (shown above).
tured -- occurring at precisely a time of dramatic change (the character played by Savage) or as a very odd intrusion (during Aidan Quinn's university lecture). Yet the dialog is always believ-
able and honest, and the performances are all you could wish for. Here is a film, like the recent IFC On-Demand Overbrook Brothers that sheds increasing light on the variations of male sexuality and the prohibitive cost that society still charges for these.
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