Alive and Kicking

Shown here on HBO Signature as "Alive and Kicking," I've seen this film twice now, and I marvel at how well it was put together, and how incredible it is that it never received the notices or exposure it should have...but not that incredible. My guess is that States-side audiences, gay and otherwise, weren't quite ready for such an unconventional love story, in which AIDS is definitely an issue, but not the sole focal point of the story.

The tale revolves around the coupling of an HIV-infected, self-absorbed dancer (is there any other kind?) with the bearish, balding, hard-partying AIDS therapist who was treating one of the dancer's closest friends, who has just passed away as the movie unfolds.

Gay American filmmakers who didn't get a clue from movies like BEAUTIFUL THING, PRISCILLA or THE LOST LANGUAGE OF CRANES should've paid more attention here. The barriers between these two radically different people are given an honest presentation, and AIDS just happens to be one of them. No one is more surprised or stunned than these lovers are, (except maybe the audience), at the level of passion, tenderness, concern and brutal honesty that they unearth from one another's bodies and souls.

Rather than the idyllic romance of two Soloflexed beauties, the differences in personality and body type both clash and compliment the two men, and the excellent performances by Jason Flemyng as Tonio, the dancer, and the curmudgeonly-yet-cuddly Antony Sher as his new love keep the scenario real without disintegrating into queenly histrionics or maudlin manipulation.

The entire supporting cast is excellent, but special mention should be made of stage-and-screen vet Dorothy Tutin as Luna, the founder and lioness of the dance company of which Tonio is a part. Experiencing her own 'Indian Summer', the once-innovative choreographer is only spared the agony of watching in helpless anguish as this century's plague continues to decimate the ranks of her once vital company, due to the ironic cruelty of an ever-advancing case of Alzheimer's. Tutin never plays the role for obvious laughs, and the ghost of a once-great creative force that she shows us does elicit smiles, but sad, nostalgic ones.

Lovers of films "off-the-beaten-path" of any sexual persuasion should give this one a try. The rewards are worth it.

No queens, no histrionics...other than a deliberate put-on one. Lots of laughs with gays laughing at themselves or, rather, the picture that society would have of them. I had never understood before how men can make love face to face. And the scene between the dyke and the queer (it's OK, they use these words) trying to make love is PRICELESS!!! Talk of forests and lollipops. The boy and girl dancer are really best friends.

What's really poignant is the scene in Greece....was it the Delphi ruins? The timeless beauty of the place, and the definitely known finite-ness of the visitors was a juxtaposition you'll seldom see. As he throws the ashes of 2 AIDS victims out in the beautiful Aegean (?) Sea, the wind blows it back upon them. "I've got Ramon in my eyes" the dancer responds. From the georgeous Grecian landscape back to the burning wrecked cars in a junkyard of London was a GREAT seque.

Judy Tutin has died, which is why I bought this movie. Her line "Don't be sad because you won't grow old." as her self-knowledge about her Altheimer's becomes more obvious, is even more touching.

So, we have a comedy about dancers and AIDS. What other profession has been so struck by this horror?

The lines about living life to its' fullest till you die are tremendously inspiring, and the comedy all around keeps the beautifully shot movie from being doleful. See it with a gay friend...one who dances.

The best AIDS film I've seen and one of the best dance films. Antony Sher and Jason Flemyng are perfect as the paunchy drinker and the bitchy dancer destined for a love match; the music is gorgeous and the film funny and moving in equal measure. Deserved a lot more exposure than it got.

but new product. a film about gay world, AIDS, dance, vulnerabilities, need of love and protection, shadows of fear and fall. a fragile universe who becomes, in this case, more than link of clichés. because the fundamental note is honesty. the movie is just a confession. not cruel, not pink, not sarcastic, not full of cries. just honest, clear, realistic and profound in basic nuances.a film about connections and fight against sickness. a beautiful occasion to discover the roots of dance as sacrifice, testimony and gift. a film like a drawing. only pencil lines. a sketch like glass door. a piece from a biopsy. and the other like sense of next step. all is in good place - humor, pain, hope, fear, limits, joy as butterfly circle. a film about life. about art. and a man. like part of central character for who death is more than ordinary end.

This movie turned up late night on Cinemax, and there was nothing else on so I stuck with it. Being an open-minded moviegoer, I wasn't taken aback by the story of this conceited gay dancer who can't imagine letting himself get involved in a relationship, particularly not with the aggressive therapist. Once the two start talking, it's funny how they pull themselves closer by pretending to push each other away. Their unlikely pairing goes from heat to companionship to frustrations to resolve. The most hilarious scene involves the dancer and his female best friend, when they play scientist with each other's "lab equipment". The most dramatic scene is when a somewhat-expected tragedy is turned into a powerful performance before an audience. This is a funny and easygoing movie about letting go of life's frustrations, then remembering to live.