THE LARAMIE PROJECT
Aspect ratio: 1.85:1
Sound format: Dolby Digital
Following the murder of Matthew Shepard by a couple of homophobic thugs in the nondescript town of Laramie, Wyoming, a theatre troupe descends on the area and questions residents, politicians, doctors and police officers in an effort to probe the circumstances which led to this appalling crime.
When 21 year old Matthew Shepard was murdered by Russell Henderson and Aaron McKinney in October 1998, it seemed like the culmination of a ceaseless conservative crusade against the so-called 'gay lifestyle' (whatever that means). For some, Matthew's death had been facilitated by the ongoing propagation of hatred which flourishes unchecked in every aspect of our daily lives, and which found its ultimate grim expression in the beating, torture and near-crucifixion of a virtually defenceless gay man. The killing prompted a national outpouring of grief and anger, fuelled by a media campaign that seemed more concerned with gaining mileage from a juicy story than challenging the attitudes which had given rise to this event in the first place. THE LARAMIE PROJECT - which began life as a stageplay created by the Tectonic Theater Project in New York, using the actual words of Laramie residents instead of 'dialogue' - attempts to redress the balance by probing the causes and consequences of bigotry, and the deep-rooted feelings of those most affected by the murder. It's a heartfelt debut from Tectonic founder and artistic director Moisés Kaufman.
Interviewees include friends and colleagues of Matthew, the investigating police officers, the doctors who cared for him during the coma which preceded his death, and those whose religious convictions appear to have clouded their judgment and humanity - in one appalling sequence, a mealy-mouthed reverend (Michael Emerson) expresses sympathy for the victim, whilst simultaneously hoping that Matthew spent his last conscious moments reflecting on his 'lifestyle'. Presented in mock-documentary format, in which the 'characters' are portrayed by an all-star cast of familiar faces (including Steve Buscemi, Amy Madigan, Laura Linney, Christina Ricci and Frances Sternhagen, amongst many others), Kaufman's film offers a platform to those on both sides of the debate, though the filmmakers' own liberal outlook is plainly obvious throughout. But, in taking a stand against fundamentalist attitudes, THE LARAMIE PROJECT seeks to demonstrate the flaws in extremist viewpoints. In other words, those with bigoted opinions are given enough rope to hang themselves, and some of them leap head-first into the noose. Thankfully, Fred Phelps and his satanic crew - who rubbed salt into a festering wound by protesting against 'fags' during Matthew's funeral - are reduced to little more than an unwelcome guest appearance, during which they're confronted by a host of silent, accusing townsfolk dressed as angels...
Reluctant to shrink from uncomfortable truths, the film is not afraid to tackle the thorny issue of Matthew's HIV status and the small - but significant - part it played during the fall-out from this terrible event (notably, the devastating consequences for one of the police officers who was first to arrive at the scene of the crime), but that hasn't prevented some critics from questioning the film's 'narrow' liberal viewpoint. For instance, is homophobia and AIDS more deserving of such a high-profile movie than any number of similar social ills? No, but no one has ever complained about high-profile movies which (quite rightly) denounce racism, for instance! And while prominent actors may not be lining up to star in powerful dramas about cancer (for example), those afflicted by cancer are hardly likely to encounter discrimination at state and governmental level because of their 'lifestyle choices', with little more than begrudging tolerance for their medical welfare. Secondly, the film is accused in some quarters of being a patronising diatribe, in which a bunch of 'backwoods hicks' are taught the error of their ways by 'omniscient and enlightened Californians' (as one skeptical Internet reviewer has complained). Only the townspeople themselves can confirm or deny this particular accusation, though the Tectonic Theater Project mounted a special performance of the stageplay in Laramie itself which didn't seem to generate any controversy. Other questions are not so easy to dismiss: Was the country really so outraged by Matthew's death, or was the controversy generated by little more than a media frenzy? After all, despite the platitudes expressed at the time, little has changed in the intervening years with regards to hate crimes legislation. In some ways, this is hardly surprising, since most politicians find it expedient to pacify an alignment of fanatical religious bigots. If nothing else, THE LARAMIE PROJECT reminds us to guard against prejudice and hatred wherever it manifests itself, to derive inspiration from the likes of Matthew Shepard, and - most importantly - to honor the fallen.
As a film, "Laramie" (which opened the Sundance Film Festival in 2002) is an impressive achievement; Kaufman has brought his considerable skills as a theatre director to bear on a much broader cinematic canvas. It's mostly talking heads, of course, but there's an urgency in the telling which might have been lost in a straightforward documentary presentation. Ultra-professional in all departments, and acted with conviction by a sterling cast, the movie is thought-provoking and poignant, and inspires confidence that all is not lost in the battle against ignorance.
Aspect ratio: 1.85:1
Sound format: Dolby Digital
Following the murder of Matthew Shepard by a couple of homophobic thugs in the nondescript town of Laramie, Wyoming, a theatre troupe descends on the area and questions residents, politicians, doctors and police officers in an effort to probe the circumstances which led to this appalling crime.
When 21 year old Matthew Shepard was murdered by Russell Henderson and Aaron McKinney in October 1998, it seemed like the culmination of a ceaseless conservative crusade against the so-called 'gay lifestyle' (whatever that means). For some, Matthew's death had been facilitated by the ongoing propagation of hatred which flourishes unchecked in every aspect of our daily lives, and which found its ultimate grim expression in the beating, torture and near-crucifixion of a virtually defenceless gay man. The killing prompted a national outpouring of grief and anger, fuelled by a media campaign that seemed more concerned with gaining mileage from a juicy story than challenging the attitudes which had given rise to this event in the first place. THE LARAMIE PROJECT - which began life as a stageplay created by the Tectonic Theater Project in New York, using the actual words of Laramie residents instead of 'dialogue' - attempts to redress the balance by probing the causes and consequences of bigotry, and the deep-rooted feelings of those most affected by the murder. It's a heartfelt debut from Tectonic founder and artistic director Moisés Kaufman.
Interviewees include friends and colleagues of Matthew, the investigating police officers, the doctors who cared for him during the coma which preceded his death, and those whose religious convictions appear to have clouded their judgment and humanity - in one appalling sequence, a mealy-mouthed reverend (Michael Emerson) expresses sympathy for the victim, whilst simultaneously hoping that Matthew spent his last conscious moments reflecting on his 'lifestyle'. Presented in mock-documentary format, in which the 'characters' are portrayed by an all-star cast of familiar faces (including Steve Buscemi, Amy Madigan, Laura Linney, Christina Ricci and Frances Sternhagen, amongst many others), Kaufman's film offers a platform to those on both sides of the debate, though the filmmakers' own liberal outlook is plainly obvious throughout. But, in taking a stand against fundamentalist attitudes, THE LARAMIE PROJECT seeks to demonstrate the flaws in extremist viewpoints. In other words, those with bigoted opinions are given enough rope to hang themselves, and some of them leap head-first into the noose. Thankfully, Fred Phelps and his satanic crew - who rubbed salt into a festering wound by protesting against 'fags' during Matthew's funeral - are reduced to little more than an unwelcome guest appearance, during which they're confronted by a host of silent, accusing townsfolk dressed as angels...
Reluctant to shrink from uncomfortable truths, the film is not afraid to tackle the thorny issue of Matthew's HIV status and the small - but significant - part it played during the fall-out from this terrible event (notably, the devastating consequences for one of the police officers who was first to arrive at the scene of the crime), but that hasn't prevented some critics from questioning the film's 'narrow' liberal viewpoint. For instance, is homophobia and AIDS more deserving of such a high-profile movie than any number of similar social ills? No, but no one has ever complained about high-profile movies which (quite rightly) denounce racism, for instance! And while prominent actors may not be lining up to star in powerful dramas about cancer (for example), those afflicted by cancer are hardly likely to encounter discrimination at state and governmental level because of their 'lifestyle choices', with little more than begrudging tolerance for their medical welfare. Secondly, the film is accused in some quarters of being a patronising diatribe, in which a bunch of 'backwoods hicks' are taught the error of their ways by 'omniscient and enlightened Californians' (as one skeptical Internet reviewer has complained). Only the townspeople themselves can confirm or deny this particular accusation, though the Tectonic Theater Project mounted a special performance of the stageplay in Laramie itself which didn't seem to generate any controversy. Other questions are not so easy to dismiss: Was the country really so outraged by Matthew's death, or was the controversy generated by little more than a media frenzy? After all, despite the platitudes expressed at the time, little has changed in the intervening years with regards to hate crimes legislation. In some ways, this is hardly surprising, since most politicians find it expedient to pacify an alignment of fanatical religious bigots. If nothing else, THE LARAMIE PROJECT reminds us to guard against prejudice and hatred wherever it manifests itself, to derive inspiration from the likes of Matthew Shepard, and - most importantly - to honor the fallen.
As a film, "Laramie" (which opened the Sundance Film Festival in 2002) is an impressive achievement; Kaufman has brought his considerable skills as a theatre director to bear on a much broader cinematic canvas. It's mostly talking heads, of course, but there's an urgency in the telling which might have been lost in a straightforward documentary presentation. Ultra-professional in all departments, and acted with conviction by a sterling cast, the movie is thought-provoking and poignant, and inspires confidence that all is not lost in the battle against ignorance.