Straight-Jacket (2004)
While the conclusion to the real
life Rock Hudson story is certainly tragic, the less
sorrowful elements of his life get a campy send-up
in the film "Straight-Jacket." Even better,
since this is about the 50's Hudson, a closeted big
name actor who flaunted his homosexuality around Hollywood
fairly freely, we get the story in the style of one
of those old Rock Hudson/Doris Day vehicles. And trust
me, it's tons more fun than the abysmal and heterosexual
"Down with Love" which stunk up megaplexes
last year. In fact, you could say that compared to
that lame, sour exercise in 50's nostalgia, "Straight-Jacket"
is downright gay.
Matt Letscher (TV's "Good Morning,
Miami") plays Guy Stone, the faux Hudson and
he does so winningly with a cheesy smile and a calculated
manner that makes him seem charming yet phony at the
same time. This film is fun because, even though it
is the 50's, Stone is open about his sexuality and
is downright predatory in his pre-AIDS conquest to
bed as many men as possible. Much delight is gleaned
from his typical 50's era swinging bachelor demeanor
here turned its ear because he is after other guys
instead of buxom females. He's attractive as well,
although playing a character very plastic. He looks
like David Hyde Pierce's younger, straight brother.
Other actors in the film are equally
engaging. Veronica Cartwright is simply wonderful
as Guy's butch agent Jerry. Carrie Preston is cute
and amusing as Guy's wife (and unbeknownst to her,
his "beard" ). Her sweet and innocent nature
makes us care for her immediately. And Adam Greer,
making his debut here, is winning as Rick, Guy's first
true love. With a lantern jaw that gives his face
a genetically engineered look, Greer eventually grows
on us and comes to be seen as quite handsome and real.
His character, the only one in the film with any inherent
intelligence as well as any conscious, is quite engaging.
Writer/director Richard Day has a
lot of fun with the movie. He uses animation, CGI
effects, blue screen and stock footage to evoke the
feeling of the 50's while maintaining the modern sensibilities
of his film. This isn't a film based in reality but
rather a sort of 50's movie as if viewed through a
post-millennium lens. While harkening back to the
era by starting the film with a period style animated
title sequence and a cheesy yet hip 50's style theme
song, Day also turns up the camp element of the film
to overdrive. But by using modern filmmaking techniques,
including obvious computer models posing as exterior
establishing shots, Day also reminds us that this
is a film with modern sensibilities, not to be taken
too seriously, not to be taken for the reality of
the era. Of course, this doesn't work as well as it
could. It takes a little getting used to and there
are certainly some sloppy problems here and there.
For example, the looping here is atrocious and some
of the CGI effects look really bad. But overall the
film is so winning that this complaints seem piddling.
It is in this realm of non-reality
that we also have to accept some anachronisms here
and there. For example, the Heimlich Maneuver, which
probably wasn't even realized until the 60's or 70's,
is used several times here for comic effect and a
electronic organ is played which features numerous
rhythm choices and sound effects. These points are
also offset by just how amusing they are used in the
film. The song sung on screen by Preston while she
plays the organ has to be seen to be appreciated.
It's one of the most hilarious things you will ever
see. Preston has great physical flair and a winning
comic approach to the gag.
"Straight-Jacket" is simply
funny. Even though it pokes fun at closeted homosexuality
it also finds time to include numerous jabs at the
"Red" scare of the 50's. The fact that it
also takes time to deal with homophobia, blackmail
and gay bashing in ways that are witty rather than
sentimental make it a campy comedy with a sweet nature
and a heart in the right place that help it to become
quite pleasant to view.
Notes:
Also with Victor Raider-Wexler and
Michael Emerson and Jack Plotnick, Clinton Leupp and
Chad Lindsey who were also in Day's "Girls will
be Girls." The end credits contain faux newspaper
headlines that tell us what happened to the characters.
Viewed at Millennium Youth Entertainment
Center in March 2004 as a part of SXSW with my friends
Alan Campbell and Johnny Oh!
