The Dying Gaul

I would be hard pressed to name a trio of actors that I could be more excited to see than the stars of his film. Been rooting for Clarkson for years; we all know Sarsgaard is Oscar material in the years to come; Scott is (to me) even better than his dad. So I was waiting for this, via Craig Lucas, for a long time.

My cousin had warned me (we are both gay) that the play delivered a memorable first half (in a positive way) and just as memorable second half (in how bad it was). Clearly the screenplay did nothing to change this, alas.

The three leads were, no surprise, just excellent, and seeing them was well worth the time and cost. Oh PeterS, get back to work we need more of you! But dear Mr Lucas, when characters behave in ways that show no logic, it feels like a cheat.

Fascinating idea, beautiful setting, some splendid dialogue and then disaster sets. I say "6" and wish everyone involved great success in the years to come.

I thoroughly enjoyed this film. Mr. Lucas directed a very cinematic version of his stage play, and assembled an outstanding cast. Peter Sarsgaard, Campbell Scott and particularly Patricia Clarkson, give layered, complex, award-worthy performances.

This film reminds me of another along the same genre, American Beauty, which also examined difficult and complex relationships, and attempted to do so with both humor and pathos.

Because this film is part thriller, part black comedy, part searing emotional drama, it had me going on many levels.

Again, Patricia Clarkson should be praised highly for her ability to make the reactions of her character so real! I have not always been a Craig Lucas fan, as I sometimes find his work to be a bit preachy (Prelude to a Kiss), but with this film, and his obvious director's eye, I look forward to his next effort.

Somehow, this movie managed to hold my interest despite the fact that I never really cared about the characters or what was going to happen to them next. It's not a love story. Not a very good relationship tale. Not a mystery or thriller. Instead, Dying Gaul is a modern day Greek tragedy that uses Hollywood and homosexuality as simply vehicles to generate interest.

This is Craig Lucas' first time in the director's chair. He wrote The Secret Lives of Dentists (previously at Sundance, starring Patricia Clarkson). The movies tackle the same themes---the value and meaning of marriage, the impact of dalliances, the complexities of finding happiness and satisfaction without veering from tradition. But Dying Gaul comes at it with a different … orientation, and even outcome.

Patricia Clarkson is always excellent, but here she shows a little evil in her character, which is outside her normal range. Unfortunately, the rest of the cast comes off as wooden, certainly uninspired. Pay attention, because there are liberal doses of philosophy in the form of quotes and counsel. But the real tragedy here is the lack of a meaningful story or compelling characters.

I enjoyed this film, up to a point- and that point was almost exactly the half way mark, where the writer director chose to go the maudlin implausible route instead of sticking with what he had, which was wonderful.

To have three characters in conflict and resolve it without any fancy plot device would have been truly courageous, but sadly what started out so lovely descended into melodrama and tedium.

That being said, Craig Lucas is clearly a talent to watch, he did a marvelous job with the actors- particularly Peter Skaarsgard, who does wonderful work, and the script is smart and even touching in places.

Campbell Scott seemed miscast to me, wooden and distant at places but oddly brazen in others. I can't imagine a married studio executive actually touching and almost kissing a writer ON THE LOT. I found myself imagining what other actors would have done with the role, never a good sign. But then again, he was one of the producers, so Mr. Lucas had his hands tied.

All in all, the first act was so promising that I was angered by the way Lucas decided to end it.

I just saw this at the Seattle Film Festival, Peter Saarsgard was there to answer questions. The movie is extremely watchable for the first half of the way through, is built on a fascinating premise with interesting characters (a bisexual movie producer and his wife who reside in a Lifestyles of the Rich And Famous type beachside modern mansion, a young gay writer whose lover has died of AIDS), and builds to a pitch of extreme suspense. After that, however, the plot stumbles and the film's conclusion turns on a series of unbelievable events. I thought since the movie was based on a play, the plot would be clear, but it's almost as if the movie version was forced to cut out some important sequences, as there is never quite enough information about 1) how the woman obtains all her inside information on the writer, 2) how the writer's ex-wife was related to the characters and 3) most importantly, what happens to the characters at the end of the movie.

I went into the bathroom after the movie and joined a lineup of women who were also asking each, "What exactly happened there?" --- when it's not clear it's a sign of unclear movie-making.