Despite the success of the big-studio, star-heavy PHILADELPHIA, distributors remain skittish about gay-themed material. A case in point is this crisply written, well-acted, and virtually undistributed comedy-drama revolving around the mainly gay writing staff of a daytime TV drama.
Mark (SWOON's Craig Chester) is the preppie-ish story editor of "The Love Judge," a daytime TV series that routinely pushes the envelope of good taste to hold its ratings position, using everything from infidelity between lesbian circus performers to split personalities and heavy-metal madness.
Coping with depression on the anniversary of his lover's death from AIDS, Mark is also finding his spirits tested elsewhere in his personal and professional lives. Punkish, bisexual staff writer Billy (Alexis Arquette) is having a torrid affair with fellow writer Jeremy (Carlton Wilborn), a
sharp-tongued jock, and flirting with Mark, who has a crush on him. At the same time, Mark is dreading an interview with the production company's mean-spirited, money-grubbing owners for the supervising producer's position about to be vacated by Jo (cross-dressing actor Jackie Beat, who also
narrates the film). As Mark is considering whether to take the plunge with Billy, Jeremy confesses their affair. Mark storms out of the office feeling bitter and betrayed. The interview goes even worse than he expected, and Mark's rival Paula (Lucy Gutteridge) gets the job. When the anniversary,
forgotten by all, comes around, Mark disappears. His friends and co-workers fear the worst even as they threaten a walkout in support of Mark's and Paula's sharing the promotion. Mark reappears--he had been hiding in his apartment and passing the anniversary by watching an old Ozu movie--and
accepts the shared promotion just before they all take Jo out for a farewell lunch.
As a day-to-day look at life in the Hollywood grist mill, GRIEF is less bloated and more observant than many recent films of its type (e.g., THE PICKLE, I'LL DO ANYTHING). Part of the reason is that debuting writer-director Richard Glatzer draws on his own hands-on experience as a producer of
TV's "Divorce Court"; but his critique of the workplace isn't specific to the entertainment industry. Indeed, it should resonate with anyone employed by a company that wrings the most out of workers for the least possible compensation, while holding them in the lowest possible regard--that is to
say, it should resonate with just about everybody. For being a single mother, Paula takes as much abuse in her job interview as Mark does in his for being gay, while hefty Jo endures fat-woman jokes at every meeting with her bosses. Also recognizable in Glatzer's working world are intra-office
intrigues, secret romances, unrequited crushes, and professional and personal betrayals.
Occasional revenge is also on the menu, mainly in the hilarious excerpts from "The Love Judge" sprinkled throughout the film. These feature amusing cameos by an assortment of cult celebrities, from Paul Bartel and Mary Woronov to beyond-the-fringe performance artist John Fleck. The principals are
no less able, and there's appealing support from Ileana Douglas, better served here than she was in CAPE FEAR, as a twenty-something "older woman" anguishing over whether to get involved with the boyish office copier repairman. The overall result is a perceptive show business comedy that any
working person can relate to and a gay drama with which most straight viewers should identify. As a filmmaker, Glatzer demonstrates a high degree of artistry, sensitivity, and showmanship, while providing ample proof that having a low budget needn't mean aiming low. (Sexual situations, adult
situations, profanity, nudity.) leave a comment
