Just out., March 07, 2003, Page 45, Image 45

incredible range of emotional
and intellectual responses. The
work is participatory and engag­
ing, demanding,” says Minty.
Sonbert programmer Jeremy
Rossen describes what sets Four
Wall apart from other groups
working in related areas: “Ours is
a small, intimate space that fosters
conversation between audience
members and collective members
and filmmakers—and hopefully
creates an important missing
aspect of watching films: human
interaction and discussion.”»
The collective’s reach has
Four Wall Cinema gives good film: members Jeremy Rossen
been long and wide for a small
(left) and Pablo de Ocampo
operation; they’ve managed to
create consistently strong programming and are
LeToumeau describes the attraction of Son-
bringing notable filmmakers (like Jill Godmilow,
bert’s work as his “sense of rhythm and pacing
who appears next month) to Portland for screen­
particularly,” with a dazzling “collision of images.”
ings of their work.
Adds Rossen: “1 have many queer, straight and
transgender friends who have never seen or heard
O f course, getting attention— and fund­
ing— hasn’t been easy, even in Portland’s
of Warren’s work that I know would be interested.
It’s an important event not to be missed.” JH1
notably arts-friendly climate. The collective
members donate their labor, hold fund-raisers
and network with supportive businesses and
F our W all C inema shows A Still Life of
other film groups like the PDX Experimental
Postcards: Films by Warren Sonbert at
Fest. The combination has worked so far. The
7:30 p.m. March 11 and 12. The suggested
Sonbert show, for example, was expanded con­
donation is $6. Visit www.fourwalldnema.org for
siderably through the help of Randy Rapaport
a complete schedule. A post'Screening reception
of 3 Friends Coffeehouse, who will also play
follows the March 11 show at 3 Friends
host to a post-screening reception March 11.
Coffeehouse, 201 S.E . 12th Ave.
P.S. Y our C at I s D ead
Hollywood Theatre, March 7 to 13
attempt to make it cinematic. Most of the
action is shot straight in the claustrophobic
apartment, which is more set than home. And
attentive viewers will notice things the film
.S. Your Cat Is Dead began life in 1972 as a
novel by James Kirkwood, who adapted it as
forgot to update, like references to DeJcedrine
a play in 1978. It’s been revived occasionally
(does it even exist anymore?) and Jimmy’s
but only recently turned into a movie, thanks to
handwritten novel, which surely would have
Steve Guttenberg, who co-wrote, directed and
been typed on a computer if this were really set
stars in it.
in modem
Set in Los
times.
Angeles and
Another
problem are
updated to the
present, the
the minor
story begins as a
characters, who
portrait of a
add little to the
story. The
loser. “It’s New
Year’s Eve,” says
gifted Shirley
Knight, a
actor-writer
prominent
Jimmy Zoole
actress in the
(Guttenberg),
1960s, is
“and it’s been
entirely
the worst year
of my life.”
Steve Guttenberg has a bone to pick with hustler and thief forgettable as
Jimmy’s rich
The hopeless Lombardo Boyar in P .S. Your C at Is Dead
aunt, and A.J.
kvetch has gtxxl
Benza, a straight New York gossipteer in real
reason to complain. His girlfriend is leaving
life, looks and acts ridiculous as a butch queen
him, his apartment has been burgled twice, and
in leather and mascara.
his beloved cat, Tennessee, is in the hospital.
On the up side, both Boyar and Guttenberg
And then there’s his career, which is as weird
are quite effective. It couldn’t have been easy
as it is unsuccessful. Audiences aren’t buying his
for Boyar to act most of the film tied down on
One Man Hamlet show and, to add insult, the
his belly with ass and thighs exposed. (Did I
only copy of the handwritten manuscript of his
forget
to mention that part earlier?) His skill at
treasured novel was a casualty of the last burglary.
shifting from cockiness to contrition helps
Jimmy’s evening kicks into high gear when
viewers forget some of the story’s contrivances.
gay thief and hustler Eddie (Lombardo Boyar)
Guttenberg is equally good as the powerless
decides to revisit his apartment and clean out
schlemiel who reclaims that power at the
whatever he previously missed. But this time the
victim turns the tables and, in a twist that must
expense of his captive. He looks the part of a
physical and emotional wreck, disheveled and
have looked especially kinky in the early 70s,
hog-ties him face down on the kitchen counter.
grim (and perhaps should, since the actor’s own
Thereafter unfolds an increasingly complex
career has been in decline for some time).
and ultimately rather moving relationship
The actors’ sometimes sadistic, sometimes
between Jimmy, trying to get control of his life,
simpatico interplay has an almost romantic feel
and Eddie, who turns out to have problems of
that keeps the viewer intrigued— is Jimmy real­
ly the closet case Eddie says he is?— and makes
his own.
Guttenberg does better as actor than direc­
the film worth watching.
tor. The film screams “theater!” with no
— g m
P
jn
Portland Gay Men’s Chorus
p re se n ts
M en in L ights
With Special Guest: Susannah Mars
Jo in
PGM C and
P o rtla n d ’s ow n
Susannah Mars for an evening filled
with the best choral works written for
men’s chorus from Broadway, Opera
and the Silver Screen.
Audiences may remember Ms. Mars
for her
Portland perform ances of
Mama Rose in PCS’ production of
G y p sy and Fannie Brice from F u n n y
Girl.
Saturday, April 5, 2003 @ 8 p.m.
Sunday, April 6, 2003 @ 2 p.m.
Kaul Auditorium —Reed College
Ticket Prices: $20/$ 15/$ 12
Ticket are available by calling the PGMC
office at 503-226-2588 or online at
www.pdxgmc.org
mnteuii