The Lost Language of Cranes

The film offers two metaphors for the suppression of expression - young twins, who have never been taught an established language, and hence create one of their own; and a neglected child, who's only company is the view it has of a building site with several large cranes from the window: the child begins to imitate the cranes' movements and noises in an attempt to communicate with them. No fear - the symbolism is kept to a minimum.

At the film's core, are three people, all of whom have been suppressing their real feelings (their real selves) from the others for fear of change - for fear of disrupting the balance of their existence. This lack of expressing themselves in language, causes them to create their own "language of cranes".

They're terrified that the truth will rip apart the world as they know it, which it does. The viewer is left with their loose ends, wondering if honesty really was the best. Everything they feared about honesty comes to pass. The family is torn apart without a way back. The mother is left feeling like the punch line of a bad joke and the father will be left with 30 years of remorse and guilt. But they're free. They're alive and free - and they still have time to take advantage of their second chance at life.

There are no action scenes here, but this film is more suspenseful than a thriller. If you have ever kept a secret from someone you loved - beware - this film might make you feel very uncomfortable.

Bottom line: a wonderful script, excellent acting and well directed on a small budget. A must see!

I bought this movie because (a) Angus MacFadyen stars; and (b) it was supposed to be a movie about a gay man who decides to come out to his parents when he finds himself falling in love. It was that, but it has so much more to offer than that aspect of homosexuality.

What impressed me most about the movie is that it shows gay men as having actual affection for each other. So many other movies seem to think it's OK to show gay men as long as they're not "flaunting" the physical aspect of their relationships. This movie allows us to see them as people who actually care about one another.

Angus MacFadyen - long hailed for his expressive eyes - is great as Philip, the son opening up to his parents, and thus inadvertently bringing their marriage into question. Brian Cox is wonderful as the father who decides, after years of living the "proper", straight life, he must now be true to himself. MacFadyen and Cox have a great chemistry, as Cox's Owen seeks to understand his own feelings by getting in touch with his son's. Both are fabulous actors who know the fine art of subtext.

One caveat: the box has Corey Parker as the headlining star. He's not. He's good as the emotionally unavailable - and quite annoying in light of Philip's sensitivity and openness - lover, but he's only there for a short time.

Story about two young men in England--Philip (Angus Macfayden) and Eliot (Corey Parker)--falling in love. Philip tells his parents--his mother thinks it's a disaster--his father (Brian Cox) remains strangely quiet. It turns out HE'S gay too and his sons coming out is forcing him into a decision.

Low-key drama. I caught it on PBS (slightly edited) and then saw it complete on VHS in the early 1990s. I liked it but can't say I was too impressed. For starters the low-key aspect of the story was TOO low-key. Everything seemed muted. Macfayden and Parker were (surprisingly) terrible in their roles. I never believed these guys even liked each other, let alone love each other. So a crucial turn halfway through didn't carry the emotional weight it should have. The happy ending all around seemed too pat for me also.

Still it was brave to make a movie like this back in 1991 AND get it distributed. It was well-directed and well-written. Also Cox was excellent in his role. So, it IS interesting in terms of gay cinema--it portrays gay men in a realistic manner (especially having hunky, masculine Macfayden play one) but it just doesn't come across strongly enough. Worth a viewing but don't go out of your way.

I found this movie very intriguing to watch. I particularily liked the way Philip chose to live his life. His honesty within himself, his giving of his love to Elliot openly without question. Some of the sex scenes were hot! The subplot about Philip's Dad and his battle with his homosexuality was handled very well. Both Owen and Rose were well played by the actors. The recognition scene was painful to watch yet very realistic. Most of the gay scenes, including the bar scenes were well done. If you've ever been to a gay bar, and I have, there is a certain dark somber feeling that exists in spite of all the dancing and prancing about. You see in the eyes of the hunters and those being hunted a sadness and desperate need to be conquered or to conquer. You see this a lot in QUEER AS FOLK. The bar scene. See this film if not just for the pleasure to see Philip find his way. And, of course, it doesn't hurt that Philip is also gorgeous!

I was alternately surprised, impressed, and repelled by this film. This is not actually a gay love story, but the story of a family, and how they deal with (and not deal with) the truth. Both the father and the son are gay, and the mother, Rose (Eileen Atkins), lives in denial for years, until her son, Philip (Angus Macfadyen), bravely tears the walls down.

Rose is sharp as a tack, but so tightly controlled, she doesn't allow the truth to sink in. Not much goes over her head, but when the information doesn't fit into her plans, she simply ignores it. When she finally faces the reality of her marriage, it falls apart.

Owen (Brian Cox) is the father-- his whole life, he has lived a lie. His character is weak and not very bright, but he means well. He does his duty in caring for his family, and it's clear he genuinely loves them. Unfortunately, he's the most childlike in the family--he reacts, rather than initiates, and he remains childlike till the end.

Philip is the catalyst in the family--he brings the secrets out in the open. His character shows a lot of wisdom and initiative, both in his family and love relationships. This was Angus Macfadyen's first major film, although it was originally a BBC production. He is young, lean and amazingly sensitive in his performance. He is so good in this role, I was convinced he is gay.

The writers of the film (David Leavitt, Sean Mathias) suggest that homosexuality is the result of both environment and genetics. Elliot, Philip's lover, is the adopted son of two gay men. Philip is the biological son of a man who is gay. Elliot's housemate, a social worker, reveals that a child's life is shaped by his environment after he is neglected and left alone--he begins to imitate a crane, the only stimulation he has. Another case is revealed, of two twins who have their own secret language. It's a fascinating subject to speculate on if you like to figure out what makes people tick (I do).

The acting all around is phenomenal. The director too (Nigel Finch), did a wonderful job. So much is said with looks and gestures, volumes are communicated with eyes alone. Nothing was glossed over in this film--each character has his/her own strengths and weakness, both gay and straight. How refreshing, especially in a film about intimacy.

The music is also good. The whole atmosphere is one of loneliness and desperation, and it's fascinating to watch, from an American perspective, because we just don't make movies like that. Our films are usually much more glamorized or dramatized, so this film was especially magnetic to me.