The Wounded Man

Before "Betty Blue", the male star of that film - JH Anglade - made this even darker romance about the love of a naive, desperately lonely young man for an older male hustler. Its a beautiful film with relaxed nudity and highly erotic sex scenes between the excellent male leads.

But its also a very dark and sinister movie. Its a film of extreme passions with a raw, violent finale which is poignant as well as disturbing. Its a film which contemplates the collision of impassioned, yearning-for-love youth with the jaded, cynical ruthlessness of youth lost in the figure of the older hustler. Its not a pleasant film but its nonetheless one of the most highly charged erotic gay films ever made with an intelligent script and a powerful narrative force as the two men seek to find their own way to survive. Anglade's heartfelt performance as the intense, brooding and determined young man is soulful.

Though for most of us, sexiness is a variable quality, I cannot recall a movie that did for me what this one does. It transported me into an awfully familiar realm of longing and desire. All the compulsive attraction, uncertainty over the outcome, the palpable fear and excitement so attendant to that state of arousal were brought to fever pitch by this flick. So French and what I consider daring! No matter what your orientation, I think that the danger of chasing your desire is brought full-front and center here...much more so, say, than with Kubrick's "Eyes Wide Shut".

Made in the 1980's and presented at the Cannes Film Festival in 1983 this superb film directed by Patrice Chereau and written by him and the writer Herve Guibert has never been given a certificate in the UK ( banned ? I have no idea ) and to my knowledge was shown once at the National Film Theatre during a gay season of films. To my knowledge it sank without trace after that and was brought out in the US in a copy that seemed like a copy of a copy and that I found unwatchable. I saw it when it originally came out in Paris and now I have it on a DVD from France in perfect condition. All this detail to ask simply why this great film, comparable to ' Sauvage ' has not been released and respected in our English speaking countries ? Most of Chereau's other films have, and Herve Guibert's work is not unknown in English. Is it because it was considered too savage and to my knowledge even the gay orthodoxy put it to one side ? I believe that the film should have been applauded for the brutality shown in male contact, and how a youth cannot understand such horror of sexual exploitation and how he allows himself to be drawn into it. It shows openly the confusion among men who really do not identify as being ' Gay ' and hang around train stations looking for sexuality. I hope it is not a spoiler that two wounded men are destroyed in an act of crazed love ( l'amour fou ) and it is us as a society that have led to this destruction. Mainstream cinemas showed it in France and I believe it paved the way for that marginal approach to homosexual subject matter that has led to some of the more braver directors of today.

A fine performance by Vittorio Mezzogiorno and a masterful one by Jean-Hugues Anglade adorn this stange tale of lust, desire and alienation in France. The work of the two lead performers is striking--subtle, intense and passionate. Alas, the script is deliberately turgid and sordid, and the overall effect leaves one with a downcast spirit. Still, those who can appreciate fine quality acting will be able to savor the courageous work of the leads in this often difficult film journey of Gallic low life.

L'Homme Blesse is not for an impatient, adventure-seeking audience. There are no explosions nor is the drama straightforward. Like the films of Lynne Ramsey, the director is working more deeply with mood than with storytelling in a manner that is effective and incredibly moving. Because it does not rely on gratuitous nudity, or superficial pop-cult. story lines, this is quite frankly one of the best gay foreign film I have seen (also, see Francois Ozon, Pedro Almodovar). Nicolas Roeg's "Don't Look Now" gets a lot of bad press because it is sold as a horror film. That film, like L'Homme, is more than what the box might lead you to believe. If you are in the mood to sit back and be absorbed by the subtle, transformed powers of cinema, you'll love this movie.