There are good movies and there are great movies, but for me, this movie is literally in a class by itself. I'm not alone in having become obsessed with this (in a good way), watching it again and again. There are so so many places where there is just a bit of a raised eyebrow, a sly smile, a tightening of a jaw muscle, which brings such depth to what is going on. Some of my most favorite movies - Wizard of Oz, It's a Wonderful Life - did only so-so when first released. It took the next generation or two, and repeated viewings, for their greatness to be appreciated and to propel them to the top. For me, your movie bypassed this process and I think many have already grasped its enormous rise to the standard we may (I hope) judge all subsequent romcoms. As a 73 yo gay man, I grew up in the era when even the labels were prohibited in movies - a character was hinted at being gay by a rocking hand gesture. A big step forward was the release of The Boys in the Band, which only drove me further back into the closet. I would hear rumors that such-n-such actor was gay and then subsequently hear he was married. In my ignorance, I didn't know of bisexually or the sham marriages that Hollywood demanded. Around 1970, I read a short newspaper article about a gay mass murderer - it wasn't John Gacy but someone similar. The article had a postage stamp sized photo of him and this was the first time I knew of a masculine attractive man who was definitely gay. I carried his photo around in my wallet for a number of years. (SICK!) I have been binge-watching reactions to this and crying at both the tender and the happy moments, as have so many others who express the same reaction. I can so comprehend Henry's reaction at the New Year's Eve party where he feels Alex flirting with him the whole evening, paying attention to him, and then feeling it all crashing down when he thinks at the midnight kissing, he was mistaken. (And that he couldn't participate, even if he wanted to.) His standing outside with tears in his eyes, and then the kiss. (A lot of movies could have ended at that moment.) I am not an amateur film critic, of recognizing way Hitchcock's camera angle or so. But when I compare the book to the movie, I see clearly (again, my opinion) as to decisions you had to make. The hospital scene where Alex sees Henry talking and comforting a kid and the way you filmed it, it took only a few seconds to see Alex's full reaction. I agree blending June and Nora made sense, and making her not his sister gave you more freedom. I think changing the character of Bea as a recovering addict and ex-partier to a familiar royal family person was an excellent choice, as her continued acceptance in the family would have undercut the need for Alex to conform. "Vicky!" "Barbara Streisand." "Lady Gaga." "Difference between rugby and football." "Do you think anyone noticed?" (and placing it in the end credits as putting it its proper sequence would have reduced the impact of the cake incident.) I am so impressed as to how you filled the roles with non-traditional people, without it seeming forced (because I didn't pick up on this until later.) Special kudos to Amy. I hope you are able to release an extended version at a (not too ) later date. I hope you guard every outtake, every element, the way so many wish they had done with the Wizard of Oz - where every existing scrap of paper and so is so treasured to today. As you absorb the well-earned praise for your directional debute, I hope you also are able to comprehend how impactful your work is in ways that many of us can't really express fully.
Perez and Galitzine are wonderful in this film. Much has been said about their chemistry, which is palpable. But neither actor has shown as much heart or honesty in their other work. The difference is the sensitivity of the creative team. Director Matthew Lopez and cinematographer Stephen Goldblatt give them a glowing jewel box to inhabit. With the addition of the intimacy coordinator, Robbie Taylor Hunt, the intensity of the character's relationship materializes on screen. You sense that there was pride and love coming from all departments and that that provided a platform which allowed the two lead actors to become two lead characters that make us laugh and cry and love them. Cynics have attacked the film for not being what they want or think it should be, but that is short-sighted. The achievement of RW&RB is that it is completely what it sets out to be -- a smiling act of hope and love.
that's so funny, when he was talking about romcoms i immediately channeled Bringing Up Baby. i'd call that the classic screwball comedy, but it's close enough.
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There are good movies and there are great movies, but for me, this movie is literally in a class by itself. I'm not alone in having become obsessed with this (in a good way), watching it again and again. There are so so many places where there is just a bit of a raised eyebrow, a sly smile, a tightening of a jaw muscle, which brings such depth to what is going on.
Some of my most favorite movies - Wizard of Oz, It's a Wonderful Life - did only so-so when first released. It took the next generation or two, and repeated viewings, for their greatness to be appreciated and to propel them to the top. For me, your movie bypassed this process and I think many have already grasped its enormous rise to the standard we may (I hope) judge all subsequent romcoms.
As a 73 yo gay man, I grew up in the era when even the labels were prohibited in movies - a character was hinted at being gay by a rocking hand gesture. A big step forward was the release of The Boys in the Band, which only drove me further back into the closet. I would hear rumors that such-n-such actor was gay and then subsequently hear he was married. In my ignorance, I didn't know of bisexually or the sham marriages that Hollywood demanded.
Around 1970, I read a short newspaper article about a gay mass murderer - it wasn't John Gacy but someone similar. The article had a postage stamp sized photo of him and this was the first time I knew of a masculine attractive man who was definitely gay. I carried his photo around in my wallet for a number of years. (SICK!)
I have been binge-watching reactions to this and crying at both the tender and the happy moments, as have so many others who express the same reaction. I can so comprehend Henry's reaction at the New Year's Eve party where he feels Alex flirting with him the whole evening, paying attention to him, and then feeling it all crashing down when he thinks at the midnight kissing, he was mistaken. (And that he couldn't participate, even if he wanted to.) His standing outside with tears in his eyes, and then the kiss. (A lot of movies could have ended at that moment.)
I am not an amateur film critic, of recognizing way Hitchcock's camera angle or so. But when I compare the book to the movie, I see clearly (again, my opinion) as to decisions you had to make. The hospital scene where Alex sees Henry talking and comforting a kid and the way you filmed it, it took only a few seconds to see Alex's full reaction. I agree blending June and Nora made sense, and making her not his sister gave you more freedom. I think changing the character of Bea as a recovering addict and ex-partier to a familiar royal family person was an excellent choice, as her continued acceptance in the family would have undercut the need for Alex to conform.
"Vicky!" "Barbara Streisand." "Lady Gaga." "Difference between rugby and football." "Do you think anyone noticed?" (and placing it in the end credits as putting it its proper sequence would have reduced the impact of the cake incident.)
I am so impressed as to how you filled the roles with non-traditional people, without it seeming forced (because I didn't pick up on this until later.) Special kudos to Amy.
I hope you are able to release an extended version at a (not too ) later date. I hope you guard every outtake, every element, the way so many wish they had done with the Wizard of Oz - where every existing scrap of paper and so is so treasured to today.
As you absorb the well-earned praise for your directional debute, I hope you also are able to comprehend how impactful your work is in ways that many of us can't really express fully.
this is a great review!!
@@deand5522Thank. But even so my remarks only touch on a small part of all the intense (positive) emotions well up inside me re: this movie.
Perez and Galitzine are wonderful in this film. Much has been said about their chemistry, which is palpable. But neither actor has shown as much heart or honesty in their other work. The difference is the sensitivity of the creative team. Director Matthew Lopez and cinematographer Stephen Goldblatt give them a glowing jewel box to inhabit. With the addition of the intimacy coordinator, Robbie Taylor Hunt, the intensity of the character's relationship materializes on screen. You sense that there was pride and love coming from all departments and that that provided a platform which allowed the two lead actors to become two lead characters that make us laugh and cry and love them. Cynics have attacked the film for not being what they want or think it should be, but that is short-sighted. The achievement of RW&RB is that it is completely what it sets out to be -- a smiling act of hope and love.
that's so funny, when he was talking about romcoms i immediately channeled Bringing Up Baby. i'd call that the classic screwball comedy, but it's close enough.