I
february 15.2002 - J u t an t 37
F ll M
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Transgressive
ban and Charley limped through the queer
filmiest circuit drawing plenty of raised
eyebrows and little prospect of distribution.
It wasn’t so much the subject matter
per se; "intergenerational love” (aka pedophil
ia) has been popping up in movies quite a hit
lately. But audiences used to seeing such dra
the film’s increasingly hypnotic spell. Both
mas end in suicide or murder after much suffer
ing by all parties might he disappointed.
lead actors acquit themselves well in difficult
roles, coming to life under the camera’s pitiless
Low-key nearly to the point of torpor, Eban
recording of their every tic and turn. This
and Charley rejects the sensationalism inherent in
this most enduring of cultural taboos. The film’s
brings its own kind of tension as we get to
know the characters and their
title characters, a 29-year-old soc
cer coach and a 15-year-old hoy,
neediness. The prospect of
are presented as consenting if
their comeuppance becomes
almost nerve-racking.
hopelessly naive parties to what
seems to he a dtximed affair.
Love it or hate it, this
movie at least should stimulate
Set at the Oregon coast, the
debate on a subject that’s been
film follows Ehan’s (Brent Fel
too demonized for rational dis
lows) return in disgrace to his
cussion. Angry and hurt at the
parents after being fired for
thought of losing Eban,
falling in love with one of his
Charley says with emshing
students. At the local CD store
sincerity: “I don’t think age
he meets Charley (Giovanni
Andrade). The two play guitar,
should matter. W hen you’re
read ptxztry and fall in love.
74, I’m going to he 60. W e’ll
both he old men.”
In the mist-enshrouded
The film is most provoca
coastal community, their rela
H e’s old enough to be...his
tive in its challenge of the
tionship at first goes unnoticed,
w ay older brother
common cultural trope of
allowing them furtive strolls on
the beach and hand-holding walks in the coun older oppressor and younger victim.
— Gary Morris
try. O f course, the town is not as sleepy as it
seems, and the affair eventually comes to the
' he Iron Ladies is based on the true story of a
attention of their not-exactly-thrilled parents.
volleyball team—composed of a lesbian
Beautifully shot on digital video in Port
coach, gay men, transsexuals, transvestites
land, Astoria and Seaside, Eban arid Charley
and one token straight— that came out of
emphasizes mood and emotional nuance at the
nowhere in 1996 to win Thailand’s national
expense of action, a strategy that will alienate
some hut reward those willing to surrender to
championships. In his first feature, television
E
Be it love or sports, these cinema queers
play by their own rules
i
commercial director Yongyoot Thongkongtoon
has admitted to playing fast and loose with the
hard facts, but what we see in the film is certainly
a diverse and intriguing bunch, dramatized or not.
Mon (Sahaparp Virakamin) is a volleyball
enthusiast who frequently
finds himself turned down
at tryouts because he’s gay.
His chipper, proudly girl
ish friend Jung (Chaichan
Nimptxmsawas) convinces
him to try out for a team
being organized by Coach
Bee (Siridhana Hong-
sophon). When both are
selected, the rest of the
players quit in protest.
Bee asks Mon and Jung
if they know any more
open-minded players, and
they eventually come up
with, among others, a
April, May and June
flamboyantly gay army
sergeant (apparently, “don’t ask, don’t tell” is one
hassle Thailand’s government didn’t feel the need
to bother with), a transsexual nightclub performer
and a “straight-acting” closeted gay man.
As Bee leads them to greater discipline and
victory, petty rivalries and strife both internal
and external test their solidarity. O nce the
players finally get it sufficiently together to
taste their greatest success on the court and
prove their myriad detractors wrong, the
homophobia of ill-meaning individuals in the
upper echelons of the Thai sports world
threatens to end their winning streak.
T he most successful sequences are those in
which we see the characters in action. Just as
Raging Bull or Personal Best fascinated even
viewers totally uninterested by boxing or
track, one needn’t be a volleyball nut to get
drawn into the film’s thrill of victory/agony of
defeat quandary.
Unfortunately, the sections of The Iron Ladies
that do not take place on
the court are rife with
awkward, strident prosely
tizing. Characters are
repeatedly given grand-
standing speeches, as if
displaying a cross section
of gay maledom kicking
ass on the macho-domi
nated volleyball court isn’t
enough to let the audi
ence know that the film’s
“message” is one of diver
sity and tolerance.
Still, mixing this
heavy-handedness into a
are great ball handlers story .both simple and
engaging doesn’t make
The Iron Ladies any worse (or better) than a
Rocky or a Days of Thunder. It’s a watchable,
com petent, imperfect genre picture.
— Christopher McQuain JH
E b a n a n d C h a r l e y plays through Feb. 21 at
Hollywood Theatre. For times call 503-281-4215.
T h e I r o n L a d ie s phys Feb. 23 to 28 at
Cinema 2 1. Call 503-223-4515.
Bank of A m e rica Pops:
BRIGHT LIG H TS ! BROADW AY!
M u s i c by A n d r e w L lo y d W e b b e r & F r i e n d s
Sat.. Feb. 16 at 8 pm | Sun., Feb. 17 at 3 & 8 pm | Mon., Feb. 18 at 8 pm
Murry Sidlin. conductor | Nat Chandler, vocalist
Patricia Ben Peterson, vocalist | Timothy Shew, vocalist
Three of Broadway's brightest stars will join
the orchestra for an evening of hits: "Bring
Him Home" Les Misérables; "Sun & Moon
Miss Saigon: "Godspeed Titanic" Titanic;
"Seasons of Love" Rent; "Don't Cry For
Me Argentina" Evita; "Music of the
Night" Phantom of the Opera:
"Memory" Cats and much more!
Brian Olson
sales associate
503 341-8212
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Sponsored by Bank of America.
Media support by Newsradio 750 KXL,
KPTV-Oregon s 12 & Media America
Tickets start at $22’
b rianolson@ cb seal.co m
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