I'm an old man and over the years have had many gay friends (I worked in the arts). Most of them are not effeminate and most of them have served in the armed forces. The story I've heard repeatedly is that there is a lot of homosexuality in the military, but it is not acknowledged, even among the participants. This movie is sort of like that, too. The two lead characters do become physically involved, but they never really talk about their relationship. It's not the "love that dare not speak its name," but the love that dare not speak at all. That's why this movie is significant.
The story, which takes place in the early years of the 20th Century, concerns a farm boy (Paul Mescal) who also happens to be an instinctive musical prodigy and was gifted with perfect pitch. He can tell what key that roosters crow in. He meets a New England professor his same age (Josh O'Connor) who is impressed when he sings a folk song in a bar. They strike up a friendship and end up taking a trip together doing field work on collecting American folk songs, transcribing and recording them on an early recording machine that utilizes wax cylinders. The sex scenes are very subtle and are not sensationalized. I did not find them offensive. Their relationship is simple and full of mutual respect. When World War breaks out, the New Englander is drafted, but the farm boy is not because of his eyesight. (He wears glasses.) The war causes them to question what's next after it's over. The New Englander encourages the farm boy to go to Europe and sing professionally, which he does very successfully. They carry on a correspondence, but one day the letters stop coming. But life goes on. The farm boy becomes sophisticated and also has a love affair with a rich young British woman and they plan to marry. Revealing more would necessitate spoilers, which I don't to do.
The movie looks gorgeous. The American scenes in particular are reminiscent of the paintings of Andrew Wyeth. Art decoration and cinematography are beautifully detailed. The music is all based on American folk songs wonderfully augmented by evocative music composed by cellist Oliver Coates. All the actors, from even the smallest roles are pitch perfect. In the leads, both O'Connor and Mescal give powerfully understated and realistic performances. This is especially impressive because neither of them is an American. I was unfamiliar with the director, Oliver Hermanus, but I will seek out his other work. The work here is super. This movie is probably not for everybody, but those interested in folk music and American history will find it rewarding. I was tempted to add "gay studies," but I think that would be somewhat misleading. That is, however, the central issue, even though it never takes center stage. I think that's what makes the film so haunting.
