the pull of gravity
by
Douglas Messerli
Jon Fitgerald (screenwriter and director) Apart from Hugh / 1994
Jon Fitzgerald’s 1994 black-and-white film Apart from Hugh begins with a young man, Collin (David Merwin) sitting in a small village coffee house, apparently late in the evening, writing a letter. From the looks on his face and the accompanying score we know its a rather sad letter which, when finished, he folds up and puts into an envelope. That letter will, in fact, follow in this superficially likeable tale throughout, appearing next in a sketch book hidden away in one of the drawers of the country house in the Pacific Northwest where he lives with his lover Hugh (Steve Arnold), and eventually set out for Hugh to read two days later.
Their relationship is partially established
the next morning as they wake up in bed together in a large brick building,
apparently an old schoolhouse or apartment building, which inside their first
floor rooms Hugh has decorated with numerous rugs, pillows, and knick-knacks
enough that it looks to be quite comfy. Hugh has just had a “bizarre” dream: “I
was back in high school...in my English class taking an exam in my underwear. The
period was almost over and I couldn’t answer any of the questions. I was so
frustrated. I got up and I walked over to the window, unlatched it and flung it
open, and just totally flew out. Or was I sucked out? ...I flew over the city
and the mountains and the forest. It was so beautiful! But it was so hard to
fight the gravity.” Evidently, it is the kind of dream Hugh often has.
When asked about his own dreams, Collin
says he never remembers them. “I always wake up and there’s nothing there. Just
kind of a vague gray feeling, like dirty white socks. I guess it’s just lack of
imagination. Not to be flying around like Superman all the time.” For Collin,
Hugh has all the imagination, “always inventing, always wandering into
buttercup meadows. Always wondering about all the ‘what-ifs.” For Collin,
everything has to have its opposite, “rain/shine, dark/light, you/me.”
So we learn almost immediately that Collin
feels a lack of experience and a paucity of wonderment, while his mentor, Hugh,
is always questioning alternatives. Indeed, the dream Hugh has just had is not
about him, we can guess, but about his own somewhat frustrated lover, who wants
to escape the exam with which Hugh is constantly testing him: the examination
of his own life.
We also quickly discern that despite the likeability of these two gay figures, they speak in a world of clichés, not only of “buttercup meadows” and notions of everything having its opposite, but, as we soon discover, with lines such as “Love at first blight,” “You feel sexy when you grovel,” or interchanges such as:
Collin: “You know you’re something, you really are.”
Hugh: “What? What?”
Collin: “No. Nothing.”
Hugh: “Is there something you’re not telling me?’
Collin: “You know it’s funny how you can spend so much time with
someone. Do all sorts of criminal, crazy things with them, rely on
them so much. And then one day...poof...it all comes to a sad
screeching halt.”
As with Hugh’s dream, the person who
Collin is describing is not the one we might think, not Hugh with whom he is
planning to end things, but Frieda, a woman with whom he lived previously who
one day he simply left very much in the same way he’s planning to leave his
current lover. It appears that our handsome young man has a history of leaving
others in order to further discover himself; or perhaps he is just prone to
seeking out strong personalities who help to mold his personality.
Fortunately for the viewer Frieda (Jennifer
Reed) is a highly eccentric being, who has already arrived in town and headed
over to the local bar, drinking several beers with a ridiculous British couple,
playing pool (badly) with a couple of local yokels whom the lesbian bartender
quickly challenges and beats, and hearing the sad tale of a cowboy who has just
lost his male lover.
Hugh has invited Frieda up from the city (my
guess is that the two lovers live near Bellingham since Hugh is described as
attending the university) for a party that evening to celebrate his and Collin’s
first anniversary.
The Freida we meet, thank god, is much
more entertaining, and now lives in a polyamorous relationship with a married couple
who paint houses, happy with her sexual relations with both husband and wife.
She, moreover, takes an immediate liking to Hugh, advising Collin, when he
reveals his plans to her, to think carefully about leaving his new lover in a
manner similar to the way as he previously left her. She understood why he had
to leave, she reveals, but was nonetheless hurt for a long while.
The gay boys' party, which takes up a nice
chuck of the film, is a carefully constructed exercise in representing
diversity to which Hugh has invited local heterosexual couples, appealing gay
men, two competitive heavyset drag queens, a black woman or two, and a poet who,
after the group finishes playing charades, reads a Beat-inspired poem.
Collin
is still determined to leave in the morning with Frieda with the intention of
finding a life as rich as he believes Hugh’s has been. Actually, however, we
realize that Collin probably has lived a much more adventuresome life with
Freida than Hugh did in his vagabonding year, particularly after Hugh tries to remember
the smells of France (bread and coffee beans), Holland (chrysanthemums and beer),
or Norway (sweaty men and fish) which seems to suggest that the writer has
never ventured out of his world atlas.
If, as a sentimentalist of sorts, I first
might have wished Collin try to stick it out with Hugh, by the time of his and
Frieda’s departure, with Hugh tucked safely away in bed, I truly hoped the boy
might escape if not into a long trek across Europe or at least into a better
script.
But the young Collin cannot, evidently, escape the force of gravity any better than Hugh describes feeling in his
flights of fancy in the first lines of this film. He returns, scoops up the
letter he has left upon the bookcase, and breaks eggs into the frying pan just
in time for Hugh’s breakfast.
Los Angeles, February 21, 2021
Reprinted
from My Queer Cinema blog and World Cinema Review (February
2021).
No comments:
Post a Comment