Saindo do Armário

I went to see the film with a friend and we both enjoyed it very much, especially Charlotte Britain but when we discussed the film later neither of us could figure out one thing: When the guys are frolicking in the pool together and are caught by Kevin, the athlete acts as if he's not the least bit concerned that he's been "found out". He laughs about it and it seems that he's come to terms with his relationship with Steven being known. Back at school, however, he goes back to acting like he doesn't even know Steven and they musn't be seen even talking. But Kevin has already seen them together in the pool! We thought that was kind of lame. Here's this guy that they all call "puff" and "queer" and yet when the best friend of the athlete catches them in the pool it's as if nothing happened. In spite of this flaw, we enjoyed the movie. Any comments?

Steve is a 17 year boy, still in school. He has long since decided he is gay but only meets men in the park for sex. When one of the people he meets in the park toilets turns out to be none other than the hunky head boy, Steve is unsure where he stands. However their relationship grows into lovers and they both balance the feelings brought around by secrecy and feeling like no one understands.

From the sparky opening and good sense of humour, I had expected this film would just be another in the line of Richard Curtis-lite style of British romantic comedies. Indeed it does have this feel to it throughout - it has some good songs on the soundtrack and much of it is funny in that bittersweet way that British rom-coms seem to have claimed as their own. However what made this such a good film is the fact that it is a lot more sensitive and moving than most of this genre ends up being. The plot may well drag a little at times, but it never really seems unrealistic or dull.

The characters are part of the reason it does so well. It is rare in the mainstream to see gay characters portrayed fairly and without caricature - HBO's 6 Feet Under is one of the rare ones, but this does as well. I wish that all those who hold up `Will & Grace' as a milestone in gays in the mainstream could all sit and see how much better it is when done like this! The dialogue is good and none of the characters are fake or pointless. Of course some react the way you expect them to, but the fact that they have been drawn well stops them being lazy - just broad. The film is weak in some pretty important areas however. The main one being the lack of relationship between Steven and John - I never saw them together and all they had in common is their sexuality.

The cast do pretty well with the characters, even if some of them are being held up by the good script. Silverstone is great in the lead - he gives a really low key performance that even extents to his `speech' scene - where he could have really hammed it up some. Gorton is not as good but does do sterling work. The support cast are mixed although all do their jobs ably enough.

Overall this is a great little film that will never get the same success as the Richard Curtis comedies from which it borrows a bit of it's style, however the script is really strong and it is quite unarming in how well it deals with the issues without cliché or lazy caricature of characters.

If "Get Real" chronicles anything, it is that messed-up jumble of a time that gay men have as teenagers, trying to be true to themselves without giving too much offense to those who abhor them. The mixed-up measures they take to express themselves and give expression to their feelings of desire and adolescent lust, suppressed by community morality and repressed by personal fear and self-hatred, unfolds over the London suburb of Basinbroke where a stick figure of a 16-year-old--Steven Carter--sits in or outside a public bathroom, trying to make contact with someone. He finds it unexpectedly with the big man on the high-school campus who garners immeasurable pleasure from their private meetings, but cannot bear the thought of being outed. The story passes through a grist mill of situations that leave the viewer with the simplistic notion that everything will be fine, if you just have the courage to be yourself with others. If it were that easy, I'm sure Brandon Teena would still be alive today.

Adapted from Patrick Wilde's play "What's wrong with being angry," "Get Real" sends a manifesto to parents and teachers about the supposed pressures they may be putting on their children, gay or otherwise. If you're willing to accept it on this level, the movie functions as an emotional release for all those pent-up gay teenagers who couldn't vent their anger and frustrations at the forces that impose on their burgeoning dreams. But if you try to take it any deeper, then you'd have to consider the internal struggles of John Dixon, the object of Steven's desire, because that is one of the few places in this movie where something is at stake. Johnny (as Steven likes to call him) travels a thornier road, and although Brad Gorton doesn't quite seem up to the challenge, his self-conscious jock does not seem so much a coward in the end as someone saddled with all the trappings of his gentrified upbringing who doesn't want to let go of them. Johnny Boy's smart, but like all teenagers, he's thwarted by desires that defy his good sense.

And that is a shame, because if there ever was reason to give up everything for love, Ben Silverstone would be it. He is the real find in this picture. He's the most elegantly constructed scarecrow to touch the silver screen (Seeing him, Conrad Veidt and "The Cabinet of Dr. Caligari" come to mind.), and it's amazing what calm he brings to the center of this movie. Unlike newcomer Gorton, the camera loves Silverstone, and it takes him in as if he were born to be in front of it. If that weren't enough, this young actor (He is about the same age that Steve should be.) has a voice that rivals Jeremy Irons for expressiveness and majesty. Imagine him as Hamlet or Edward II or in a remake of "Brideshead Revisited" and that sultry sound pouring forth in velvety plenitude. Why, it's enough to make you stand up and salute the Queen Mother.

With Stacy Hart as the iridescent Jessica whose dance with Steve is probably the sexiest scene in the entire movie.

WOW!! Id never even heard of this movie until I just happened to turn it on this morning at 6am. The memories it brought back, the pain it evoked, the ultimate triumph at the end. Not a dry eye in the house, and I'm the only one here!!! I was shocked to read it's not won any big awards (but then again, that's probably why I haven't heard about it) It certainly deserves them!!! I'm so torn up inside remembering my father finding out I was gay. It was the only time I ever saw him cry. 2 days later he had me admitted to a mental hospital. I idolized my dad, and I still do. He just couldn't understand. I don't blame him, but it was so painful. I was only 14. This movie is a must see for a number of reasons. Those reasons will become known only to you when you let them in.Whoever you are. A son, a dad, a friend. A boy who's confused and scared. Don't miss it.

Intelligently scripted, well-crafted and exceptionally acted story of a young gay man finding his way through the adolescent wilderness. The situations that arise, when one finds themselves serving too many masters, are portrayed in a moving, heart warming manner. A great balance of relevant humor and teenage emotional tribulation is struck, without so much as a gram of maudlin melodrama, which normally crops up in films of this nature (especially American ones). In the good ol' USA, teenage development in movies tend to be played for laughs or for mawkish sentiment, which could propel whining into an Olympic event.

In a short summation, Steve Carter, the main protagonist, finds the path to love strewn with thorns. His friend and counsel, Linda, walks the same road. Steve in discovering himself, discovers that anguish is also a companion to love.

GET REAL does just that in such an honest, disarming way, that it exudes originality. The performances and characterizations, are far ranging and finely realized. There's not a weak link in the chain, either in performance, script execution or direction. Innovative and fresh from start to finish. A contemporary classic that is highly recommended.