Cowboys & Angels (2003/2004)
Queer Eye for the Straight Irish
Teenage Guy.
Seriously though, this film is just
too awesome to even joke about. I doubt that I am
going to see a better film this year. Heart-warming,
jovial, cute, bright, free from sexual angst and full
of delightful surprises, only a homophobe could walk
away from this film without a smile on his face and
a joyous tear in his eye.
I really don't want to give away
too much about this movie. It's a wonderful and gentle
delight. And to have its pleasurable surprises spoiled
for the first time viewer by talking about it ahead
of time just seems ridiculously unfair! Just see the
damn thing! If your lucky to live in a bigger city,
then see it when it comes to your local arthouse.
If you live out in the sticks, get on-line and make
sure you find out when TLA
Releasing is going to put it out on DVD. If you
don't believe me about anything else, trust me on
this: You will love this movie!
And if you must know more first,
well, here we go:
Set in Limerick, Ireland (filmmaker
David Gleeson's home turf), the film features two
young male characters that are thrown together as
flatmates. Shane, a wide-eyed yet naive and straight-laced
country boy who comes to the big city to be closer
to his civil service job, hardly seems the perfect
choice to room with flashy, fashion school valedictorian
Victor, yet the two mesh perfectly. We know were in
for a real treat of a movie when straight Shane's
reaction to his questions about Victor's sexual orientation
are met with no surprise and no drama. And for a few
minutes here were set in one of the most fun-loving
and easy-going gay/straight comedies ever to grace
the silver screen.
Of course, you can't have a movie,
especially a gay movie, without a little drama. But
wonderfully, all the angst here is reached via stories
that have absolutely nothing to do with anyone's sexuality,
gay or straight. Oh, sure, there's a few interesting
and dramatic moments that revolve around sex but these
are minimal and when they do occur, they are handled
in a unique way. It's odd because, even though there
is nothing really groundbreaking in "Cowboys & Angels,"
it is really unlike any other film you've ever seen.
The acting here is top-notch and
the two male leads are so adorable and so charming
that even if it weren't so the film would be a treat.
We could watch these cuties sitting still for 90 minutes
but luckily they can really act too! Michael Legge
as Shane looks like he could be Michael J. Fox's cute
little Irish son (The "Family Ties" star's wife better
never find out where he was 20 years ago). And with
eyes open wide, Legge brings just the right combination
of youthful exuberance and innocent naivety to his
role hitting just the right amount of shyness and
bravado. Likewise, Victor must be equally naive and
yet more world-wise and Allan Leech has the ability
to make the character likeable and witty as well as
charming. Shane's spirit is the spirit of this movie.
And Victor's heart is the film's heart. And these
two actors are perfect in their roles bringing warmth
and idealism to a film that must have such elements
from its lead to work.
It's hard to imagine caring so deeply
about two characters. The last time I felt this warm
towards two young friends in a film was probably when
Diego Luna and Gael Garcia Bernal brought us their
young amigos in "Y tu mama tambien."
Just see this movie. You will never
find a better young, gay role model than Leech as
the character of Victor. At the end of the film, Shane
feels fulfilled having met his friend and learning
from him. At its end, we feel the same - about Victor
and about Shane. The world of gay cinema is a much
better place now that these two characters as embodied
by these two talented young men are permanently enshrined
within it in the celluloid frames of "Cowboy's and
Angels."
What a great fucking movie!
Notes:
During production the film was known
as "The Real Thing."
The film probably uses the ampersand
in its title because at least two other films have
had the title (spelled out) in the last five years.
The film debuted at Cannes in 2003
and is scheduled to begin an arthouse run in America
in September 2004.
Viewed
at Agliff in Austin 2004
