Comments on the movie 'Love Is Strange'

We went to see 'Love Is Strange' this afternoon.  The theater was packed -- with (it seemed) enough canes and walkers to fill a senior center.

Poster for 'Love Is Strange'

The film written by Mauricio Zacharias and Ira Sachs and directed by Sachs centers on a New York City gay couple who have been together for 39 years.  Ben, played by John Lithgow, is a 71-year-old artist.  George, played by Alfred Molina, is a somewhat younger music teacher in a Catholic school.

In the opening scenes they wake up, get washed and dressed, and go to their wedding.  The ceremony is followed by a party at their apartment where we meet their family and friends.

The next scene shows George conducting the choir at his school.  After choir practice, George is pulled into the principal's office, where he is dismissed because 'the bishop' has found out about his marriage -- which conflicts with the morality clause of his employment contract.

Without the income from George's teaching position, Ben and George are forced to sell their modest apartment (for $17K and change, after flip taxes, income taxes, lawyers fees, etc.).  Unable to quickly find an apartment in NYC they can afford, they are forced to separate and move in with their friends and family.  Ben goes to live with his nephew's family (Darren Burrows as Elliot, Marisa Tomei as Kate and Charlie Tahan as Joey) -- sharing a bunk bed with Joey.  George sleeps on the couch of two neighbors (Cheyenne Jackson as Ted and Manny Perez as Roberto) -- gay NYC cops and party animals.

The bulk of the movie focuses on how these domestic intrusions change (or don't) the two households where Ben and George land and importantly, on how their relationship endures in the face of their adversity.  Lithgow and Molina are subtle and superb in their scenes together, projecting the intimacy that binds their relationship and guides it through adversity.  The frustrations of dealing with a passive husband, an intoverted teenage son and a thoughtlessly intrusive house guest are brilliantly conveyed by Tomei.  And Charlie Tahan nearly steals the picture with his portrayal of a volatile teen, whose fragile life is upended by his bunk-mate, Uncle Ben.

The picture moves forward with great economy.  While never overtly explained, each scene is set by what has gone before and allowed to develop through the dialogue and interactions of its characters.  Each element is there for a reason and the acting of the entire ensemble cast coalesces into a complex mosaic centered on the steadfast, loving relationship of Ben and George.