Entries tagged with “lgbt cinema”.


NOTE: Sometimes procrastination leads to thematic serendipity. I took so long getting around to finally finishing up and posting my review of Hannah Free, that it is now Pride Week; so I might as well make it a theme and haul out more LGBT-centric content. This is a reposting of a review I wrote a few years ago.

The issues raised are even more crucial in light of the real progress on LGBT Rights made in the last few years: Namely the idea that tastefully done gay themed projects should be marketed and be made available to a more mainstream and “Family-oriented” (though it makes me grit my teeth to use that term!) audience- and that the main obstacle to this happening is the timidity of TV/Film execs who are themselves gay. Perhaps it is time for some bravery on their part and for them to have a little more faith in mainstream America. /endsoapbox

 

 

wttmposter

Of all the Chicagoland shot films that I was hoping to see before handing in the manuscript for Hollywood On Lake Michigan, 2nd Edition, Were The World Mine was probably the one that I was most sad to have missed out on. I had heard great things about this empowering gay musical made on a shoestring budget, and how the film’s makers were desperately trying to get it a mainstream theatrical release.

Unfortunately, that mainstream release never materialized, and I was forced to wait until it was recently released on DVD. While the film was definitely worth the wait, viewing it made it painfully clear what a travesty of cinematic justice it was that this delightful little picture never received the exposure it deserved. Hopefully, the DVD release will bring it some wider recognition.

Were The World Mine is an enjoyable film on several levels; an exuberant and charming musical, a touching and tender coming of age story, a meditation on the nature of love and acceptance, and a wacky, surreal and sometimes campy comedy.

The project grew from a short musical screenplay, written in 2003 by Tom Gustafson, about a young gay teen who finds solace and strength in the words of Shakespeare (the piece was inspired by his experiences growing up gay in a small Illinois town). Gustafson’s partner, Cory James Krueckeberg, was impressed by the script and they both embarked on an attempt to actualize the work.

Gustafson, a graduate of Northwestern University, used contacts developed from working as a casting assistant on Road To Perdition and Master And Commander: The Far Side of The World to marshal resources and assemble a devoted team of collaborators and crew members. Krueckeberg, an accomplished actor, designer, and director; also drew upon his tenure in the Chicago theater community to assist the cause.

The result was Fairies, a short musical film. Fairies received a rave response at a screening in a Boystown venue, and they were quickly able to raise money for festival submissions. The film ended up appearing at over 75 festivals around the world. A year later, during a flight from LA to New York, they decided to expand Fairies into a full length feature. By the time the plane landed, Gustafson and Krueckeberg had already sketched out the framework for the picture.

After the pair completed the script (working in conjunction with talented Chicago composer Jessica Fogle on the songs), Gustafson and Krueckeberg then methodically set out to acquire financing for the feature film. Their efforts were a primer on the right way to fund and create a low budget independent movie; using staged readings of the script to garner interest in the project from potential investors, presenting a well constructed business plan to those investors, and doing research to locate all other possible funding sources. Meanwhile, they were also working hard on a production schedule so as to be able to hit the ground running when the financing came through, and searching the country for the talent to perform the various roles in the film.

Although many big name actors who expressed interest early on disappeared once the extent of the film’s gay content became apparent to them, casting people Carrie Barden, Mickie Paskal and Jennifer S. Rudnicke were able to assemble an amazing group of performers, the proverbial mix of seasoned veterans and talented newcomers.

Big name actors (and/or their agents) weren’t the only ones afflicted by uneasiness over the film’s gay content, investors were shying away as well, and for a while it looked as if financing would not materialize. But Gustafson, Krueckeberg and producer Peter Sterling were able to secure the final funds required. Pre-production reached a fever pitch in preparation for the shooting of the film, which was done in the Chicago area and took an amazingly short 4 weeks (it almost seems impossible when you watch the movie).

Were The World Mine is the story of Timothy, a shy and creative gay teen who often retreats into his musical daydreams in order to endure life in a private boys school and a stultifying small town. When he is cast as Puck in a school production of Shakespeare’s Midsummer Night’s Dream, he becomes more aware of his talents and starts to blossom under the tutelage of his arty English teacher.

This process reaches full flower (pun mandatory) when he discovers a love potion recipe for Puck’s purple pansy secretly encoded in Shakespeare’s text (the pansy causes those sprayed by it to fall for the first person they see). Timothy creates the potion, then uses this magical flower to turn his whole town gay, most notably the hunky rugby player for whom he has been pining.

Tanner Cohen, who plays Timothy, was really quite a find for the production; possessing strong acting skills and an incredible voice (not to mention an uncanny resemblance to Nick Stahl). Cohen deftly captures the nervous insecurity of Timothy, but also really brings it in the musical numbers.

Nathaniel David Becker, who makes his film debut as Jonathan (the rugby playing love interest), has an excellent voice, handsome looks and solid acting chops. He should be able to write his own ticket in the musical film/theater world; in fact he already seems to be a bit of a gay heartthrob.

The supporting cast is unbelievably strong: the devilishly quirky Wendy Robie (Nadine from Twin Peaks) plays the English/Theater instructor (in a role she reprised from Fairies), revered Broadway stage performer Judy McLane shines in her first film work as Timothy’s mother, Daytime Television fixture Jill Larson (Opal on All My Children) is an absolute hoot as McLane’s eccentric employer, veteran Chicago character actors Christian Stolte and David Darlow do their usual brilliant jobs, and newcomers Zelda Williams and Ricky Goldman are adorable as Timothy’s best friends and confidantes.

In addition to the fine acting performances, the musical numbers really knocked my socks off (and I’m not generally a fan of contemporary musicals). Cory Krueckeberg seamlessly melded Shakespeare’s words with his own clever lyrics, Jessica Fogle’s melodies were excellent (catchy without being cloying or fluffy), and Tim Sandusky’s work on the score, arrangements and production was absolutely first rate (of course, he has a reputation for that in Chicago). Todd Underwood’s choreography was joyously kinetic but not too busy or cliched, Elizabeth Powell Wislar’s costumes were fab, and Director of Photography Kira Kelly was able to achieve a beautiful look with limited resources.

Gustafson and cohorts worked hard for a wider mainstream release for the film and it’s a shame that they weren’t successful, because Were The World Mine is truly “The Gay Teen Musical For The Whole Family.” Seriously. Although there’s a certain intensity in the romantic moments that generates a bit more heat than the hook up scenes in your average WB-style teen dramedy (which comes more from having better actors being directed well); WTWM is much less salacious than the teen centered offerings on any network. The most graphic action in any of the love scenes is a chaste kiss and warm caress, which is positively Disney-esque compared to the bump and grind explicitness in standard teen fare (actually, WTWM has been likened by many to Disney’s High School High). And I think we can all agree that young dudes with their shirts off isn’t exactly pornographic (those who don’t agree probably wouldn’t have read this far anyway).

Of course it’s two guys doing the kissing, so the knee jerk reaction from mainstream execs (particularly gay mainstream execs) when confronted by a film that forthrightly portrays romantic affection between two males is to pronounce it “too gay.” Those two words are the bane of the existences of all gay filmmakers/artists/musicians/etc. seeking to expose their work to a wider audience.

The fact that this cowardly mantra is so often recited by corporate cultural gatekeepers who are themselves gay is especially puzzling. Particularly about something as heartfelt and wholesome as Were The World Mine. In a interview included in the WTWM press kit, Gustafson wonders:

Maybe it’s really that purity and innocence that scares people into saying the film is too gay? I think to some people, this innocence is even more dangerous than films that portray gay characters in very crude and sexual ways. Historically, ‘gay’ has been more prominent, and as a result more accepted in a way, as a dirty little secret involving bathroom stalls or sex clubs than when it involves real love, religion and the long term commitment of a marriage like institution. Regardless, it’s a strange irony to say that an incredibly innocent film is too gay. In some way I think it comes from a shameful place, and I think some of the non-straight people in the industry react this way to things as a defense mechanism. The same way our main character escapes an unsavory reality with daydreams, these people escape reality by saying it’s ‘too gay’ instead of putting support behind it and risking ridicule.

Whatever the true motivations of those who denied this film its due, the fact remains that it was a poor decision. With both filmed and live musicals pulling in the public in droves in recent years, Were The World Mine could have really made a splash had it been given a chance.

Hopefully, the recent DVD release will at least help get this picture seen by some of the legions of people, gay and straight, who would enjoy it.

Which is the really crux of the matter at hand, not to mention one of the most frustrating things about the capricious and arbitrary way that films are distributed by Hollywood, the fact that so many great pictures never get brought to the attention of the people who would most enjoy them.

Aside from the sheer injustice of it, it’s just bad business.

Tanner Cohen and Nathanial David Becker bring the sexy in Were The World Mine.
Tanner Cohen and Nathanial David Becker bring the sexy in Were The World Mine.

Hannah_Freedvd

Hanna Free (2009)

 

Hannah Free was originally a stage play, written by the Victory Gardens Theater playwrite-in-residence Claudia Allen and presented at the theater in 1992. The film version came about through an alliance between Allen and LGBT media maven Tracy Baim (her Windy City Media Company publishes Windy City Times, OUT!, Nightspots, and Identity as well as a radio show and other important endeavors) along with director/filmmaker Wendi Jo Carlton and editor/producer Sharon Zurek; who had all worked together on the Chicago Gay History Project. Their efforts were augmented by several other noted figures in the Chicago production scene who all worked for little or nothing to see this important project to fruition.

 

A wonderful example of working with a small budget and making the most of available resources; Hannah Free was shot in 18 days on a budget of $200,000. Virtually every room of a Prairie Avenue District mansion owned by Baim and her sister (the historic Elbridge Keith House) functioned as either a set or production space. The film also shot in the small Illinois town of Beecher.

 

Hanna Free stars Sharon Gless (of 80’s TV sensation Cagney & Lacey) as Hannah, a free-spirited butch lesbian now in her 70’s and confined to an elder care facility after a snow shoveling mishap. Her lifelong love, Rachel, is in a different wing of the same facility and is in a coma from which Doctors suspect she will never awaken. Rachel’s daughter, Marge, will not allow Hannah to visit Rachel and say her last goodbye; and Hannah has no recourse since she is not a family member and they were never allowed to legally marry. This of course points out the cruelty and hypocrisy of a system which forces second class status upon the life partners of gays and lesbians who are ailing.

 

Despite being “a message movie” the film tries not to draw its main characters with too broad a brush. Marge is not portrayed merely as an ignorant homophobe, much of her antipathy toward Hannah is sparked by her girlhood memories of strife between Hannah and her mother, which were fomented by Hannah’s frequent absences and occasional infidelity; something which Hannah herself recalls through a series of flashbacks (as well as the good times she and Rachel had together).

30shannard

Younger Hannah out searching for adventure; something that was a constant bone of contention between she and her homebody lover, Rachel.

 

This is an important point to include in the film- that there may often be “real” (albeit misguided) reasons other than homophobia for families to want to keep gay partners from visiting their mothers/fathers etc. (just like there may be any number of “reasons” for them to not want straight life partners to visit)— but that just should not matter when the two people in question have a lifelong bond which morally trumps whatever objections are raised. The fact that gays are not allowed to marry leaves them vulnerable to any number of problems when one of them falls ill or dies; inheritance, insurance, child custody etc.- and to deny these rights to them is to deny the principle of equal protection under the law. This is something that may have been lost had Marge been written as merely an uncaring homophobe who was being mean-spirited.

 

Hannah’s flashbacks span her and Rachel’s entire life together and three different sets of actors play the couple at various stages in their lives. Casting Director L.M. Attea (who also directed the original 1992 stage version) does a marvelous job of finding actors who not only resemble each other but who can also play to the same “vibe” that each character exudes.

ynghannanrachel

A “tween” Hannah and Rachel first experiencing and dealing with the depth and power of their mutual attraction.

The flashback love scenes are extremely well done; just erotic enough to convey the passion of a lesbian relationship without being vulnerable to that tired old “sex-crazed homosexuals” trope that bible thumpers love to haul out whenever gay love is honestly depicted.

 

I don’t want to spoil the plot so I will cease any further synopsizing and just recommend this movie highly for its touching and honest portrayal of a lifetime of love between two women and for a bracing yet ultimately hopeful look at the state of affairs in the US when it comes to gay marriage and attitudes toward gay love in general.

olderhananrach

A now elderly Hanna and Rachel canoodle in the garden.

Hannah Free has been characterized as the “Lesbian Brokeback Mountain” but that is a rather limiting way to describe this film. First off, it is much more than an “issue of the week” kind of movie; and secondly the stage version was written five years before Annie Proulx even wrote the short story that would become Brokeback Mountain. Speaking of writing, there is now a novelization of Hannah Free available!

 

Although the film does have its problems; some of the tangential characters are a bit crudely drawn (particularly an obnoxious evangelical woman who visits Hannah) and the script gets little talky and “stagebound” at times (always a danger when adapting a play) but this is still a very entertaining and important film that should be seen outside of the usual LGBT film circles.

RachelGGD

Jacqui Jackson is fabulous as Greta, an interested party.

There might also be a temptation to think that this film is now outdated— but even with the recent much touted “sea-change” in public attitudes toward gay marriage (and the partial victories in court) it will still be many more years until this injustice is completely remedied across the country, so Hannah Free will unfortunately continue to be painfully relevant for some time to come.

 

 

 

 

 

 

Sorry for the late notice on this one, still getting my blogging legs back! Chicago Filmmakers is hosting this co-produced event.

 

ATOMIC MOM

Dyke Delicious Series
Saturday, April 13, 2013 – 7:00pm
Location:

Chicago Filmmakers – 5243 N. Clark St in Andersonville

 

 

 

 

 

 

 

 

Dyke Delicious Series:  Join us for special events, guests and incredible film as Dyke Delicious celebrates its 10thanniversary series at Chicago Filmmakers, bringing the years most inspiring and groundbreaking lesbian-themed films to Chicago.

7:00 PM Social Hour // 8:00 PM Screening Start
Suggested Donation: $8 advance/$10 door

Atomic Mom weaves an intimate portrait of a complex mother-daughter relationship within an obscure – but important – moment in American history. As the only female scientist present during atomic detonations in the Nevada desert, Pauline Silvia, the filmmaker’s mother, undergoes a crisis of conscience. After a long silence and prompted by her daughter, she finally reveals grim secrets of working in the U.S. atomic testing program.

In our present moment of Wikileaks, Pauline is a similar whistle-blower having been cowed by the silencing machine of the US military for decades. In an attempt to reconcile with her own mother’s past, her daughter, filmmaker M.T. Silvia, meets Emiko Okada, a Hiroshima survivor trying to resolve her own history in Japan. The film follows these survivors, each on a different end of atomic warfare, as they “meet” through the filmmaking process, and as they, with startling honestly, attempt to understand the other.

Atomic Mom invites viewers to confront American nuclear history in a completely new way and will inspire dialogue about human rights, personal responsibility, and the possibility – and hope – of peace. (Directed by M.T. Silva, USA/Japan, 2012, 80 min)

 

uncondlove

Made in 2002 by writer/director P.J. Hogan (Muriel’s Wedding, My Best Friend’s Wedding), shelved by its studio for several years, then released directly to the Starz Cable Network and then to DVD with virtually no mention, Unconditional Love is another of those gems which has fallen through the cracks of the capricious Hollywood distribution system. Kathy Bates (Misery, Fried Green Tomatoes, Fred Claus) stars as frumpy Chicago housewife, Grace Beasley, who idolizes a cheesy love crooner, Victor Fox, played with manic glee by Jonathan Pryce (Brazil, Pirates of the Caribbean). When her husband (played by Dan Ackroyd) leaves her the day before Victor is murdered in Chicago (on his way to a television appearance where Grace was to finally meet him); Grace is inspired to hop a flight to England to attend his funeral.

In a bizarre turn of events (few things in this film aren’t bizarre), she bonds with Victor’s grieving gay lover, Dirk Simpson, played by Rupert Everett (My Best Friend’s Wedding, voice of Prince Charming in the Shrek films). After arranging a comeuppance for Victor’s homophobic sisters (Lynn Redgrave, Stephanie Beacham, and Marcia Warren), Grace and Dirk return to Chicago to solve Victor’s murder and bring his killer to justice. This quest leads the pair, along with Grace’s daughter-in-law (Meredith Eaton, who almost steals the movie), on an odyssey through the bowels of downtown Chicago in pursuit of “The Crossbow Killer” (Did I mention that Victor was killed by a serial killer?). And if all that weren’t enough, Julie Andrews does a cameo that will forever change the way you look at her.

The film makes good use of Chicago as well, featuring the Billy Goat Tavern for an extended scene (more than I’ve ever seen), as well as long sequences in the dark and often foreboding underground areas that the Goat leads to. Many films have showcased lower Wacker Drive, but Wacker is actually just one of a whole array of streets in Chicago that have a “lower” version. Lower Randolph, Michigan, Columbus and numerous other streets, byways and subterranean loading docks combine with pedways and tunnels to create a vast labyrinthine “Underground Chicago.” And since the underground is where the Crossbow Killer lurks, Unconditional Love lingers there for a long time with hilarious results. The lower portion of the Michigan Avenue bridge even comes into play during the film’s climactic scene.

Now I could definitely see how this movie could not be everyone’s cup of tea, but it tickled me to no end. If you’re yearning for a comedy that feels completely different and has a sense of humor that is by turns twisted, silly, painfully clever, and delightfully campy (Jonathon Pryce as the Liberace-esque/Iglesiasish/Humperdinkian love crooner is worth the price of admission in itself), Unconditional Love will definitely float your boat.

wttmposter

Of all the Chicagoland shot films that I was hoping to see before handing in the manuscript for Hollywood On Lake Michigan, 2nd Edition, Were The World Mine was probably the one that I was most sad to have missed out on. I had heard great things about this empowering gay musical made on a shoestring budget, and how the film’s makers were desperately trying to get it a mainstream theatrical release.

Unfortunately, that mainstream release never materialized, and I was forced to wait until it was recently released on DVD. While the film was definitely worth the wait, viewing it made it painfully clear what a travesty of cinematic justice it was that this delightful little picture never received the exposure it deserved. Hopefully, the DVD release will bring it some wider recognition.

Were The World Mine is an enjoyable film on several levels; an exuberant and charming musical, a touching and tender coming of age story, a meditation on the nature of love and acceptance, and a wacky, surreal and sometimes campy comedy.

The project grew from a short musical screenplay, written in 2003 by Tom Gustafson, about a young gay teen who finds solace and strength in the words of Shakespeare (the piece was inspired by his experiences growing up gay in a small Illinois town). Gustafson’s partner, Cory James Krueckeberg, was impressed by the script and they both embarked on an attempt to actualize the work.

Gustafson, a graduate of Northwestern University, used contacts developed from working as a casting assistant on Road To Perdition and Master And Commander: The Far Side of The World to marshal resources and assemble a devoted team of collaborators and crew members. Krueckeberg, an accomplished actor, designer, and director; also drew upon his tenure in the Chicago theater community to assist the cause.

The result was Fairies, a short musical film. Fairies received a rave response at a screening in a Boystown venue, and they were quickly able to raise money for festival submissions. The film ended up appearing at over 75 festivals around the world. A year later, during a flight from LA to New York, they decided to expand Fairies into a full length feature. By the time the plane landed, Gustafson and Krueckeberg had already sketched out the framework for the picture.

After the pair completed the script (working in conjunction with talented Chicago composer Jessica Fogle on the songs), Gustafson and Krueckeberg then methodically set out to acquire financing for the feature film. Their efforts were a primer on the right way to fund and create a low budget independent movie; using staged readings of the script to garner interest in the project from potential investors, presenting a well constructed business plan to those investors, and doing research to locate all other possible funding sources. Meanwhile, they were also working hard on a production schedule so as to be able to hit the ground running when the financing came through, and searching the country for the talent to perform the various roles in the film.

Although many big name actors who expressed interest early on disappeared once the extent of the film’s gay content became apparent to them, casting people Carrie Barden, Mickie Paskal and Jennifer S. Rudnicke were able to assemble an amazing group of performers, the proverbial mix of seasoned veterans and talented newcomers.

Big name actors (and/or their agents) weren’t the only ones afflicted by uneasiness over the film’s gay content, investors were shying away as well, and for a while it looked as if financing would not materialize. But Gustafson, Krueckeberg and producer Peter Sterling were able to secure the final funds required. Pre-production reached a fever pitch in preparation for the shooting of the film, which was done in the Chicago area and took an amazingly short 4 weeks (it almost seems impossible when you watch the movie).

Were The World Mine is the story of Timothy, a shy and creative gay teen who often retreats into his musical daydreams in order to endure life in a private boys school and a stultifying small town. When he is cast as Puck in a school production of Shakespeare’s Midsummer Night’s Dream, he becomes more aware of his talents and starts to blossom under the tutelage of his arty English teacher.

This process reaches full flower (pun mandatory) when he discovers a love potion recipe for Puck’s purple pansy secretly encoded in Shakespeare’s text (the pansy causes those sprayed by it to fall for the first person they see). Timothy creates the potion, then uses this magical flower to turn his whole town gay, most notably the hunky rugby player for whom he has been pining.

Tanner Cohen, who plays Timothy, was really quite a find for the production; possessing strong acting skills and an incredible voice (not to mention an uncanny resemblance to Nick Stahl). Cohen deftly captures the nervous insecurity of Timothy, but also really brings it in the musical numbers.

Nathaniel David Becker, who makes his film debut as Jonathan (the rugby playing love interest), has an excellent voice, handsome looks and solid acting chops. He should be able to write his own ticket in the musical film/theater world; in fact he already seems to be a bit of a gay heartthrob.

The supporting cast is unbelievably strong: the devilishly quirky Wendy Robie (Nadine from Twin Peaks) plays the English/Theater instructor (in a role she reprised from Fairies), revered Broadway stage performer Judy McLane shines in her first film work as Timothy’s mother, Daytime Television fixture Jill Larson (Opal on All My Children) is an absolute hoot as McLane’s eccentric employer, veteran Chicago character actors Christian Stolte and David Darlow do their usual brilliant jobs, and newcomers Zelda Williams and Ricky Goldman are adorable as Timothy’s best friends and confidantes.

In addition to the fine acting performances, the musical numbers really knocked my socks off (and I’m not generally a fan of contemporary musicals). Cory Krueckeberg seamlessly melded Shakespeare’s words with his own clever lyrics, Jessica Fogle’s melodies were excellent (catchy without being cloying or fluffy), and Tim Sandusky’s work on the score, arrangements and production was absolutely first rate (of course, he has a reputation for that in Chicago). Todd Underwood’s choreography was joyously kinetic but not too busy or cliched, Elizabeth Powell Wislar’s costumes were fab, and Director of Photography Kira Kelly was able to achieve a beautiful look with limited resources.

Hell, there wasn’t much about this film that I didn’t like. I know this big of a rave about a picture of this sort from a big butch breeder like me might seem incongruous, but hey, sue me. I call ’em like I see ’em.

Gustafson and cohorts worked hard for a wider mainstream release for the film and it’s a shame that they weren’t successful, because Were The World Mine is truly “The Gay Teen Musical For The Whole Family.” Seriously. Although there’s a certain intensity in the romantic moments that generates a bit more heat than the hook up scenes in your average WB-style teen dramedy (which comes more from having better actors being directed well); WTWM is much less salacious than the teen centered offerings on any network. The most graphic action in any of the love scenes is a chaste kiss and warm caress, which is positively Disney-esque compared to the bump and grind explicitness in standard teen fare (actually, WTWM has been likened by many to Disney’s High School High). And I think we can all agree that young dudes with their shirts off isn’t exactly pornographic (those who don’t agree probably wouldn’t have read this far anyway).

Of course it’s two guys doing the kissing, so the knee jerk reaction from mainstream execs (particularly gay mainstream execs) when confronted by a film that forthrightly portrays romantic affection between two males is to pronounce it “too gay.” Those two words are the bane of the existences of all gay filmmakers/artists/musicians/etc. seeking to expose their work to a wider audience.

The fact that this cowardly mantra is so often recited by corporate cultural gatekeepers who are themselves gay is especially puzzling. Particularly about something as heartfelt and wholesome as Were The World Mine. In a interview included in the WTWM press kit, Gustafson wonders:

Maybe it’s really that purity and innocence that scares people into saying the film is too gay? I think to some people, this innocence is even more dangerous than films that portray gay characters in very crude and sexual ways. Historically, ‘gay’ has been more prominent, and as a result more accepted in a way, as a dirty little secret involving bathroom stalls or sex clubs than when it involves real love, religion and the long term commitment of a marriage like institution. Regardless, it’s a strange irony to say that an incredibly innocent film is too gay. In some way I think it comes from a shameful place, and I think some of the non-straight people in the industry react this way to things as a defense mechanism. The same way our main character escapes an unsavory reality with daydreams, these people escape reality by saying it’s ‘too gay’ instead of putting support behind it and risking ridicule.

Whatever the true motivations of those who denied this film its due, the fact remains that it was a poor decision. With both filmed and live musicals pulling in the public in droves in recent years, Were The World Mine could have really made a splash had it been given a chance.

Hopefully, the recent DVD release will at least help get this picture seen by some of the legions of people, gay and straight, who would enjoy it.

Which is the really crux of the matter at hand, not to mention one of the most frustrating things about the capricious and arbitrary way that films are distributed by Hollywood, the fact that so many great pictures never get brought to the attention of the people who would most enjoy them.

Aside from the sheer injustice of it, it’s just bad business.

Tanner Cohen and Nathanial David Becker bring the sexy in Were The World Mine.

Tanner Cohen and Nathanial David Becker bring the sexy in Were The World Mine.