"Ripley": A slow, artistic version of the gay-subtext con artist/murderer, with Tom's bum and Dickie's dick

 

The Talented Mr. Ripley (1999) stars Matt Damon as the charming con-artist Tom Ripley, who has a gay-subtext romance with Jude Law's Dickie before murdering him and adopting his identity.  The 2024 version is a tv series, and reputedly overtly queer, taking the gay subtext into text.  I reviewed the first episode.

Scene 1: Rome, 1961, atmospheric black and white.  Having just killed someone, a man with his face obscured puts on his shoes and hat and starts dragging the body down a palatial staircase.  

Scene 2: Six months earlier, New York. Tom (Andrew Scott) gets up in his run-down room in a residential hotel, walks the mean streets, steals someone's mail, and writes out a fake "payment overdue" notice

Then he goes to a bar and starts one of those highly-closeted 1960s hookups with a guy named Al (Bokeem Woodbine) Whoops, no, Al is a private detective, hired to find him and hook him up with the wealthy Mr. Herbert Greenleaf.  Tom refuses, then leaves to ride the subway and walk the mean streets some more.  

Back home, someone left his business card: From the IRS!  

Scene 3: Tom continues his scam: he steals payment checks, then calls or writes the sender, claims that it was lost in the mail, and has them send a new check to his own post office box. Nice establishing shots of the art deco post office and bank.  

Uh-oh, the clerk thinks something is wrong, and goes to consult the manager. Tom has to run away, and close down the whole collection agency scam!  What to do next?  Maybe Herbert Greenleaf's job won't be so bad...

Scene 4: Greenleaf Shipbuilders.  Tom is escorted past the big ships to the office, where Herbert Greenleaf tells him about the job: his son Dickie,  Tom's old acquaintance, has been living in Italy for years, pretending to be a writer or a painter, but really just goofing off.  Greenleaf wants Tom to convince Dickie to come home.

Why Tom?  They didn't know each other well.  Because none of Dickie's other friends wanted the job. Why would someone on the bottom of Dickie's friends list, who he doesn't know well and doesn't care about, be able to talk him into leaving Italy?  Tom must have a really big dick.

Scene 5: While he's considering the job, Tom has dinner with the Greenleafs. Back story dump: He went to Princeton. When he was young, his parents drowned. Uh-oh, maybe he killed them. Then they look at some photos of Dickie when he was young, in college, and now, in Atrapi, with Marge -- "girlfriend, friend, who knows?"  So Dickie is gay.

Scene 6: Tom at the tailor's, inspecting the clothes the Greenleafs bought for him. He gets his passport, signs travelers' checks, throws out his scam checks, and we're on the Orient Express!  In the Swiss alps; I guess in those days you flew in through Paris?   

He writes to his Aunt Dottie, who is getting a dental procedure -- which we see, for some reason: "You're free of me now, and I of you." I like the slow, moody structure, with the beautiful, weird shots of fire escapes, catwalks, and sculptures, but it's a little too slow.  How much time do we need to devote to Tom brooding?.

Scene 7: Naples. Tom gets off the train, changes some travelers' checks, and asks for a bus to Atrapi.  He is pushed into a cab instead, and arrives at a darkened station in the middle of the night.  Nothing to do but wait until morning, then get on the real bus -- for a trecherous drive through the mountains!

Atrapi, finally!  He asks someone, in bad Italian, for Richard Greenleaf, and is directed up endless stairs, through arches and corridors, up more stairs. to a villa.  Where he is told that Richard is down on the beach!  Is this supposed to be a comedy?

Scene 8: Tom at a shop, trying on a very bulging swimsuit, while ladies giggle at him. He asks for something a little less revealing. 

The beach is deserted -- oh, there in the distance is Dickie, lying down, fully clothed, with Marge's head on his thigh.  Tom wakes them and introduces himself, pretending that this is a chance meeting. Dickie doesn't remember him, but invites him to go for a swim.  Uh-oh, Tom is afraid of the water, since his parents drowned.  He won't set foot into the water.

More Dickie after the break

The Line of Beauty: Thatcher-era gay guy settles in with a conservative MP, dates closeted men

 

Amazon Prime has been pushing The Line of Beauty, a British drama about a poor boy who moves in with his ultra rich, ultra powerful classmate.  The trailer shows him smooching with an old guy, so apparently he seduces the Dad. There are three parts, each an hour long, set in 1983, 1986, and 1987.  I'll review the 1983 episode, "The Love Chord."

Scene 1: Closeup of a huge mansion in the ritzy Notting Hill section of London. Two guys arrive. "Is this where you live?" Nick Guest (Dan Stevens) asks, overwhelmed. Guest, har har.  His classmate Toby (Oliver Coleman): "Well, where my parents live."  Sounds like a Saltburn or Brideshead Revisited coming up.

Nick continues to gawk as Toby leads him through the house. An elderly lady with an Italian accent shows him his room: quite a let down, tiny, with awful wallpaper. Don't worry, you'll be in the master suite as soon as you seduce a few family members. 

Scene 2:  Dinner time.  Dad (Tim McInnerny) has just been elected a Member of Parliament for the Conservative Party.  In the homophobic 1980s!  Their affair is going to cause quite a scandal.   

Left: Tim McInnerny prepares to go down on a bellhop in What the Butler Saw.

Plot dump: Nick has graduated from Oxford with a First in English, and is now is working on his doctorate, researching Henry James. He has agreed to housesit all summer, while Mom and Dad are in France and Toby is traveling through Europe.  Wait, I thought this would be a Nick-Toby romance, or at least Nick seducing Toby first on his way through the family.   "Oh, we forgot to mention that you will be taking care of our mentally ill teenage daughter, Cat."

Cut to Toby shaving in a towel (nice physique!), giving Nick the deets.  Cat used to cut herself, but she's on medication, and feeling better. 

"Does she know...?"  Nick asks.  Sure, and she's fine with it.  Say the Word, idjits!  He gazes at Toby's butt.  Not good enough -- say it!

Scene 3: Mom, Dad, the housekeeper, and Toby say goodbye and drive away.  That night, Nick is reading a Henry James novel, when Cat appears in a bathrobe with booze and two glasses. She lights up a marijuana joint. I thought she knew?  Maybe Girlfriend wants to snag herself some gay cock

"What's it like being gay?" she begins.  "It seems perfectly normal to me."

Next question: "Have you shagged Toby?"  No, he's straight. "But you fancy him."  Of course not. Are we going to get an unrequited love plotline?   Nick isn't dating anyone at present, so Cat decides to find him a guy. 

Scene 4: Nick comes home to find Cat talking to an elderly working-class man, who keeps grinning and gazing lustfully at him.  Ulp, not Nick's type!  Psych: he's not a hookup, he's just visiting.  She has actually been searching the personal ads (remember those?).  "Black guy, late 20s, very good looking."  

Nick calls to make a date with Black Guy, Late 20s, then rushes downstairs to tell Cat.  But she's gone -- and one of the knives is missing from the kitchen!  She's cut herself.  But she was so happy before.   He bandages her wound, then goes to her room and confiscates her knife collection.

Scene 5: As they walk in the garden, Nick asks if Cat knows what causes the urge to cut herself, or if she can tell when it's coming.  She doesn't get any advance warning: her mood has nothing to do with it.  Suddenly everything suddenly goes "black and glittering," and she has to stop living.  He wants to call the parents, but she assures him that it won't happen again. If  she has no control over it, how can she promise that?

Cut to evening. Cat doesn't want to go back to her room, so she sleeps on the couch, while Nick plays the piano. Hey, she's trying to sleep!  

Scene 6: Nick rushes to an outdoor restaurant for his date with Leo (Don Gilet), the personal ad guy.  It's rather awkward.  Leo looks for an excuse to dismiss Nick as racist, is disappointed to discover that he isn't rich, and is annoyed when he misunderstands "Let's get going."  Neither has a place, so they end up kissing and doing anal in the private garden.  Nick is the top.  A little of Leo's butt is shown. 

Scene 7:  Mom and Dad return from France with gifts of foie gras and perfume.  Nick and Cat agree that everything was brilliant, so they suggest that he stay on as Cat's attendant. Shouldn't he have training in mental illness, crisis intervention. and such? Of course he can still work on his degree, and he can bring friends over.  But can we screw in my bedroom?

More closeted guys after the break

Revisiting Brideshead Revisited: Does the groundbreaking portrayal of (temporary) gay love hold up after 40 years? With bonus dicks.

January 18th, 1982, a Monday night, the second week of classes in the spring semester of my senior year.  I'm lying on the bed in the attic room my brother and I share, reading a book for my Advanced Spanish class.  Significantly it's Ciro Alegria's El mundo es ancho y ajeno: Broad and Alien is the World.  

I always watch tv while studying.  Tonight the only options are two boring movies, MASH (doctors during the Korean War), and something called Brideshead Revisited on PBS.  It turns out to be an adaption of the Evelyn Waugh novel about 1920s Oxford undergrad Charles Ryder (Jeremy Irons) falling in love with the flamboyant, decadent, teddy bear-toting, alcoholic Sebastian Flyte (Anthony Andrews).  

They run away to Venice together. They go slumming in Soho, along with Sebastian's sister Julia.  Then Ryder begins a romantic entanglement with Julia, and the outraged Sebastian dumps him and runs off to Morocco. 

 Later Sebastian hooks up with a sleazy German guy named Kurt (Jonathan Coy), and later still he dies.  Ryder can't marry Julia because she's Catholic and he's an atheist, so they just live together.  Later he becomes Catholic.

I'm mesmerized.  In 1982, surrounded by the hetero-horniness of workplace sitcoms, my parents demanding "What girl do you like?", and the preacher at church bellowing about homa-sekshuls, just seeing two men involved in a romance is a revelation.  Sure, no one says "gay," Ryder turns straight, and Sebastian dies, but they walk arm in arm, cuddle, even go nude sunbathing!  And everyone around knows! Even Sebastian's mother.  Even Julia, who tells Ryder that "all our loves are hints and signals," leading us to God.  A same-sex romance leads us to God?  Hear that, Preacher?

40 years have passed.  I've studied a lot of LGBT history and literature, and watched a lot of gay movies, published a lot of books and articles on queering fictional texts, and recently I decided to revisit Brideshead Revisted.

You can't go home again.  Rewatching today, I strongly dislike Brideshead.  Sebastian is a decadent, flamboyant stereotype who ends up dead.  Ryder may fall in love with him, but then he moves on to Julia.  Evelyn Waugh, like Freud, believed that gayness is a phase -- adolescents, newly potent but forbidden access to the opposite sex, turn to each other.  Their brief period of quasi-romance ends when they move on to "mature" heterosexual love.

In 2008, the BBC aired a new version of Brideshead, with Matthew Goode as Charles Ryder and Ben Whishaw as Sebastian.  This time there's no subtext: Sebastian is gay.  But there's also no romance: Ryder is heterosexual but pretending to be interested in Sebastian to gain access to his vast wealth.

 It's more honest -- and there's a lot more nudity -- but nothing can match the joy of seeing same-sex romance on screen for the very first time.

Bonus dicks after the break:

"Saltburn": "Brideshead Revisited" for the post-gay genearation, with kink and penises

Whenever possible, I check out plot synopses, reviews, and trailers before watching a movie. Since Amazon Prime has been pushing Saltburn , I checked the reviews: "a spectacularly crafted masterpiece"; "brilliant"; "sick, savage, and satisfying"; "vibes forward" (I don't know what that means); "a febrile thriller."  Sounds like a mishmash of Brideshead Revisted and The Talented Mr. Ripley, a poor (well, middle class) boy longing for the unstated homoerotic tensions and sybaritic excesses of the Polo Club crowd.  Except set in 2016, not the Georgian Era.

Some of the reviews contained plot synopses, which allowed me to make my decision: don't watch, don't even look at a trailer.  Here's why. 

1.  The focus character, sort of, is decadent Oxford richster Felix, seen here eating a popsicle and reading a Harry Potter book like a modern day Sebastian Flyte.  He's played by Jacob Elordi, a bad boy in Euphoria.

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2, Felix feels sorry for the sob stories of  poor-but-honest classmate Oliver (Barry Keoghan, who has received awards and appeared on a list of the greatest living Irish actors),  So "Come out to Brideshead...um, Saltburn with me."

Oliver doesn't want to date Felix, he wants to be him.  So he does something too disgusting to mention here.  Really, really disgusting.   I'm not kink shaming: probably 3/4ths of the population will get physically sick just by reading about it, but if it's your thing, fine.   Why not just give him a blow job?

3, Felix conquered, it's time to coerce Cousin Farleigh(Archie Madkwe) into sex.  Then Felix's sister, with another really, really disgusting kink.  

4. Felix gets tired of the lies, deceptions, and disgusting kink, and orders Oliver to leave Saltburn.  But Cousin Farleigh ends up dead.  Then Felix!  Now, of course, Oliver has to stay to find more family members to do disgusting kink with. Then Venetia kills herself!

5. Oliver is running out of family members.  He tries to seduce Mom, but she refuses.  Wait, dude, you forgot Dad and the Butler  Then Dad, tired of the lies, deception, and dead family members, bribes Oliver to leave.  He does.

6, But when Dad dies, Oliver returns, forces Mom to sign Saltburn over to him, and kills her.  Now he is the master of Saltburn, so he dances around naked.  

Actually, this looks sort of interesting, an a post-gay, everybody-does-everybody way.  Maybe I'll watch, but skip over the disgusting kink scenes. Or I'll just fast forward to the last scene with Barry Keoghan dancing naked like a sybaritic sycophant.

Dicks after the break