3-4. You really can tell it came from the stage, given the single location. But William Friedkin actually turns this potential weakness into a strength with incredibly dynamic lightning and a lengthy visual interrogation of the distraught faces of his characters. Extra points for the almost total lack of music throughout. The resulting atmosphere feels tense, intimate, and real. And the stellar performances help too.
Una película sobre la homofobia en boca de los mismos homosexuales. Este filme parece rezar: "un homosexual es enemigo de otro homosexual". Cada uno de los personajes parece asumir un estereotipo, desde el homosexual en el clóset hasta el objeto sexual, joven, rubio y decerebrado. Es curioso cómo esta película se basa en el prejuicio para emprender la moralidad reflexiva.
Adaptation of Mart Crowley play may seem dated in its representation of homosexuals but in other ways doesn't feel dated at all. The narcistic yet self hating, the venom contrasted with the tenderness, the comradirie contrasted with the pushing away still isn't so far from truth. Stagy yet compelling look captured by Friedkin that was brave enough to hire the orginal off broadway cast to boot. Essential curio.
Stolid rendering of the stage play which although trying to offer a market research cross-section of New York homosexual sterotypes, packs in some good lines of bitchy venom and interplay along the way. Alas it becomes stagebound and cinematically stodgey within the first half hour and falls away into lumpen rants of self hate. Nevertheless, a milestone and now something of a camp curio - "Hail Mary - Don't Ask".