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About Just out. (Portland, OR) 1983-2013 | View Entire Issue (Nov. 3, 2000)
november 3.2000 * Ju st out. 3 7 L l%f ▼ ARTISTS REPERTORYTHEATRE Billy (Jamie Bell, left) shows his best friend, Michael (Stuart Wells), the ropes Keep on moving Dancing gets B illy E llio t and Go off on the right foot by J im B il l y E l l i o t R egardless of sexual orientation, everyone has endured childhood traumas involving conformity, comfort and coercion. What gives Billy Elliot such universal appeal is how it rekindles these unpleasant memories while maintaining an uplifting tone. First-time gay director Stephen Daldry has crafted what undoubtedly is the feel-good movie of the year. This normally would be a warning sign for most filmgoers to steer clear, but keep in mind there’s a big difference between manipulative “inspirational” rubbish (Pay It Forward , Remember the Titans ) and the real deal. Billy Elliot is the real deal. It tells the story of an 11-year-old British boy who stumbles upon a ballet class after another frustrating boxing lesson. Despite the fact that no other guys would be caught dead dancing, Billy joins in and comes to learn he has a hidden talent. Before he knows it, he’s lying to his conser vative family in order to conceal his secret shame. (Sound familiar?) O f course, he soon is caught, but he responds with defiant pride (ahem) that’s nothing short of infectious. And his close-minded father eventually learns to accept him for who he is. (Do you detect a theme here?) Jamie Bell gives an Oscar-worthy perform ance as a boy filled with energy for his new found passion but also rage over his mother’s early death. Julie Walters, an Academy Award nominee for Educating Rita, is his chain-smok ing instructor whose frustration with her stu dent’s temper is matched only by her belief in his potential. Daldry shows great promise in his ability to incorporate gritty realism— the movie is set during the heated 1984 coal miners strike, which is tearing Billy’s family apart— with moments of sheer whimsical fantasy. He recently was named best director during the third annual British Independent Film Awards. Although we never learn whether Billy grows up to be gay, he does have a best friend, Michael (Stuart Wells), who likes boys. When he receives an unwelcome kiss, he doesn’t get upset but calmly responds, “Just because I like ballet doesn’t mean I’m a poof.” This interaction is surprisingly brave for a film that could do for tutus what The Full Monty did for stripping and W aking bled Devine did for the lottery. A n d given the presumptu ous tenor o f the Measure 9 debate, how refreshing to see a dignified representation o f a preteen boy who already is in tune with his homosexuality. R adosta Go A dance movie for the nonfrilly set awaits renters on video and DVD. Whereas Billy Elliot depicts the refined grace of ballet, 1999 s Go explores the pumping rhythms of raves. Director Doug Liman, who brought audi ences behind the scenes into the world of hip sters in Swingers, this time opts for a more chal lenging crowd: Generation Xers who just want to have some fun. He employs a nonlinear style that is reminiscent of both Quentin Tarantino’s Pulp Fiction and Akira Kurosawa’s Rashomon. Go — like the best films of another hot young auteur, Richard Linklater (Dazed and Confused )—focuses on one night in the lives of several people. Then, it rewinds and shows the evening all over again but from the perspective of a new character. The story starts out from the perspective of a supermarket checkout girl who makes a failed attempt at drug dealing to avoid eviction. It then is seen through the eyes of a British sleazeball on a road trip to Las Vegas. The final view is that of two gay soap opera stars turned police informants. Then, the story picks up where these three segments end, and Liman brings it all to a surprising yet hilarious conclusion. Among the talented cast members are Tom Cruise look-alike Scott Wolf (Party of Five) and character actor Jay Mohr (Jerry Maguire) as the closeted celebrities. Timothy Olyphant, recently seen in The Broken Hearts Club, plays it straight here as a drug dealer. Go—as its kinetic title suggests— maintains an energetic pace that never quits. These char acters are living life on the edge, constantly pushing the limits of the law, of their relation ships and of sanity. Both Stringers and Go take some wicked jabs at both Los Angeles and Las Vegas and are packed with regional lingo. John August’s script includes dialogue like “Don’t go all 818 on me” (referring to the San Fernando Valley’s area code) and nicknames such as “Orange County” (a yuppie). One of the most impressive aspects of Go is its ability to explore racy issues without offending. Recent films seem to be reveling in their depravi ty, but Liman keeps the tone fresh and frivolous. Although drug use is a major theme here, G o manages to strike the perfect balance: It neither glamorizes nor preaches about the sub ject. T he ending simply speaks for itself. J f T } A fter years o f study, Copy Editor J IM R a d o s t a has mastered “The Safety Dance ” He can be reached at pm @ justout.com . T H R O U G H D E C E M B E R 1 7, 2 0 0 0 MURRAY HORWITZ & RICHARD MALTBY, JR. Stop by our on-site ticket office or call 503 241 1 ART today! based on an idea by [TCbank O hf M.irh Spcncor Mote Tektronix 1 5 1 6 SW ALDER P O R T L A N D 9 7 2 0 5 • PA R K I N G A V A I L A B L E • M A X ACCESSI BLE PICA PRESENTS lisa kron CD november 1 0 , 11 8 pm SEASON TICKETS ON SALE NOW CALL 503. 2 4 2 .1 4 1 9 PICA 219 NW 12th Avenue 11100 Portland, Oregon 97209 T: 503242.1419 F: 503.243.1167 pica9pica.org www.pica.org SPONSORED BY AND ™ E HEATHMAN H0TEL
