Greetings again from the darkness. In a remarkable opening 6 to 8 minutes, we see John Lithgow and Alfred Molina prepare for, execute, and celebrate their official marriage after almost 40 years together. During this sequence, we quickly understand that Ben (Lithgow) is the emotional one, and George (Molina) is the pragmatic, balanced one. The brief ceremony is filled with love, admiration and happiness, and leaves us with no doubt that these two are dedicated to each other.
Director Ira Sachs (Married Life, 2007) also co-wrote the script with Mauricio Zacharias, and the film excels while Lithgow and Molina are on screen together. It comes across as a contemporary version of the 1937 Leo McCarey film Make Way For Tomorrow (with Beulah Bondi) and highlights the obstacles faced by an elderly couple who face financial hardships, New York real estate misery, and the not-so-welcome generosity of friends and family.
The gay component is not played up, rather the story is told in straight-forward manner as the couple is forced to live apart, and deals with loneliness and unease as they each feel out of place living in a party house with friends (Molina) and sharing a bunk bed with a typically awkward teenage boy played by Charlie Tahan. The boy’s parents are Marisa Tomei and Darren Burrows, who face their own marriage and parental issues.
The happiness of the opening wedding ceremony quickly dissipates into real life misery for all characters. The only happy people are the grown men playing a Game of Thrones board game. Literally everyone else is unhappy, or at least disinterested.
Although conflict is ever-present, the Catholic Church is the closest to a real villain. John Curran plays a Priest in the terrific scene in which Molina is fired (because of his wedding) from his Catholic School teaching job. The poor town of Poughkeepsie takes a couple of shots as well, but mostly it’s the pent-up frustrations of Tomei, the passive-aggressive approach of a few other characters, and the crazy teenage mood swings of Tahan’s character that keep Ben, George, and we as viewers quite uncomfortable. Instead, the joy comes from the subtle moments courtesy of the two leads. See this one for the performances of Lithgow and Molina, and for the beautiful Chopin piano throughout.
***NOTE: this makes a fine movie, but it’s easy to imagine it as a much more effective live production on stage
watch the trailer: