Far
From Heaven
Starring Dennis Quaid,
Julianne Moore, and Dennis Haysbert, Directed by Todd Haynes
Far From Heaven is
set in 1950s Connecticut, and tells the story of Frank and Cathy
Whitaker (Quaid and Moore) and their two children. New Hartford,
Connecticut is an upper class, highly stifled, intolerant town, typical
of the 1950s, that places a high premium on outward appearances,
economic status, and conformity. It’s a highly prejudiced town
(although possibly no more so than any others) intolerant of blacks and
gays, and anyone not fitting the idealized view how things ought to
be. The movie tells two stories simultaneously, and neither can
really be called a subplot to the other because they both fill
center-stage, and are inextricably entwined.
The
movie opens with Frank Whitaker finding himself battling his feelings
of homosexuality. He’s a man who has led a very conventional
life, who has a high profile job, is well respected within the
community, with a wife and two children. When he can no longer
hide his feelings from his wife he seeks psychiatric help to find a
“cure.” The passion with which he vows to “beat this thing,” and
his growing frustration and anger as he fails, reflect his feelings of
self-loathing, and his awareness of society’s (and his own) perception
of homosexuality as a deviant behavior. One gets the feeling that
this marriage was devoid of any real emotional connection from the
outset, but as his counseling sessions continue, and Frank senses his
ultimate failure to change himself, their relationship becomes overtly
contentious and explosive, and begins to unravel. As the
difficulties between the two grow, Cathy finds friendship and a growing
affection for their gardener, Raymond, a well-educated, black man,
beautifully played by Haysbert.
These
two parallel stories are depicted, Frank’s, seeking to first squelch
his longings and desires, and Cathy’s, to experience her growing
affection for Raymond. The horrors of the time are well
portrayed, both the racial bigotry and the perception of homosexuality
as something to be reviled and “dealt with,” and in a more subtle
sense, an artificial and claustrophobic way of life. The director
uses colors and lighting to subtly direct the audience. Reds and
greens are noticeably predominant in the beginning, showing a
superficial life of smoke and mirrors, stifled and carefully
constructed, and Quaid is often placed in shadow, as his homosexuality
is placed in shadow and concealment.
The
issues of seeking to fulfill and express, rather than eliminate and
despise one’s desires and needs is the crux of the movie. It’s
shown how the prejudices and value judgments of other’s sometimes color
our own (in Frank’s case) and are sometimes overcome (in
Cathy’s.) It starkly portrays the similarities between Cathy’s
attraction to Raymond and Frank’s pull towards his natural
inclinations; and interestingly, how neither can see things from the
other’s perspective, although the similarities are glaring. The
movie gives a look at the lengths to which one will go to change
feelings that are both natural and normal, and the self-loathing that
the perception of homosexuality as a sickness fosters. It shows
what goes on behind the closed doors of what appears to be domestic
perfection and harmony.
The
scenes where Frank finally learns to embrace rather than deny himself
are extremely moving and beautifully done by Quaid. This is an
excellent movie, with Quaid especially turning in a riveting,
completely, believable performance.
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The Salvation Mongers
by Ronald L. Donaghe
This is a fictitious
story told in the first person, something that Donaghe has already
proven (in the Uncle Sean books) he can do very convincingly. It
tells the story of Kelly O’ Kelley, who has lost his lover William, to
suicide. William had voluntarily submitted himself to a Christian
Fundamentalist program that promised to “cure” him of his
homosexuality. It’s a chilling story of how Kelly follows William
into the same program, to find out what really happened to his lover,
and to see what drove him to feel that suicide was his only
option.
The
backdrop for Lion’s Mouth Christian Ranch is an isolated canyon in the
New Mexican desert, and as Donaghe has done in the past, he gives the
reader a vivid sense of the New Mexican landscape, its
sometimes-oppressive heat but also its open vistas, its canyons, its
beauty and its wildness.
Donaghe
takes us deeper and deeper into the horror of Lion’s Mouth, into the
minds of those people seeking a “cure,” and those seeking to affect
such a cure. While the place, people and events are fictitious,
they are all based on real places that did and do still exist.
Through Kelly’s journal Donaghe explores the feelings of gay
self-loathing, and how some people and groups, in this case a Christian
Fundamentalist organization, capitalize on those feelings to further
their own agendas, to either eradicate feelings of homosexuality, or if
that fails (as it will) to eliminate the homosexual men themselves, in
either the literal or spiritual sense.
The book is a very quick read as one is pulled into the story, and
Donaghe’s ability to assume the voice of a fictitious character in a
totally convincing way enhance the story immensely. The Salvation
Mongers is an emotionally riveting and horrifying story, very
disturbing, and yet an uplifting testament to that thing within us all
that seeks inner truth and joy. The passionate nature of the
issues at the heart of The Salvation Mongers speak for themselves,
needing neither enhancement nor embellishment, and yet are told in an
understated way in Kelly’s “own words.” The combination of
understated first person narrative, and highly charged subject matter
combine to make this a very powerful book.
The Salvation Mongers is a story that needs to be told, and as in all
stories that do, you want the people who tell them best to be the ones
to do it. Ron Donaghe is that person. This is a must read,
for its content, its subject matter, and for its great readability and
easy access into the issues at hand.
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