1985

1985

A fragile drama which grows in intensity, “1985” could have been a forgotten classic that missed the 80s New Queer Cinema train when the independent struggle was to put together enough funds for making modest art house movies. It is not just another stylistic imitation of prior decades’ works although it builds on similar films spread over many years; but it feels truly present and authentic as a result of lead actors’ performances and storytelling by Yen Tan (director) and Hutch (writer, editor, cinematographer).

The moment one sees Hutch’s Super 16mm photography with its pointillistic film grain dancing beneath the characters and their environments one is instantly transported back to 1985. This was how low budget art house movies looked in the ’80s and ’90s. Lighting, costumes and production design elements reinforce this vintage feel along with other signifiers like Walkmans, synth drums, references to Madonna, The Cure, Ronald Reagan and Walter Mondale that typically belong to 1985. However, what makes “1985” more touching are filmmakers who got into details about all these people’s way of communication from their deep respect for them rather than fixating too much on clichés.

Although set in North Texas working class suburbs where football and Jesus are constantly talked about (which is also the case with his friend group from church), this movie has nothing in common with gay-themed stories at all; neither does it remind us of those films about a secret hidden life behind curtains of middle class families like “American Beauty” or “Little Miss Sunshine”.

Now Adrian returns home to see his family his parents Dale (Michael Chiklis) and Eileen (Virginia Madsen), younger brother Andrew (Aidan Langford), who goes to high school. Just then you can tell this family is unable to talk because there is tension hanging over them. Furthermore, we can make assumptions on how much the main characters actually know about one another, which is what they try to hide.

True, there are signs that even Adrian’s religious parents might have known all along that their firstborn is gay only that they never spoke about it and rather don’t hurry up with doing so. It is in this way when Dale, a former Vietnam soldier who now works as a mechanic and drives an old pickup truck, stands awkwardly next to his son at baggage claim in the airport or Eileen looks too happy after hearing from Adrian how he spent some time with his former girlfriend Carly (Jamie Chung), an American of Korean descent acting as stand up comedian.

Andrew’s actions suggest he might be gay, as well, and that he knows that he likes boys even if he can’t say it. Andrew is angry with Adrian at first because of his decision not to put him up in New York due to fears his little brother will see an openly gay man for a sibling; however, as soon as the older brother starts mentioning their mutual love for some new music that their own father has banned Andrew from listening to, all is forgotten.

The house holds a climate of fear and silence. These are conservative religious people living in North Texas in 1985. They have a specific interpretation of scripture they admire which rats out anyone who isn’t straight. Sin, damnation and salvation are talked about on their preferred radio stations. The gift Dale gave Adrian was a bible. While shopping at the supermarket another former high school student who now works there, follows him outside and offers him a pumpkin pie in order to broach the subject of apologizing for past bad behavior.

We don’t need to hear what exact things were done wrong before we know that this classmate used to make fun of Adrian for being gay and now feels sorry about it. Once again like so much else in “1985,” this is another instant where we are shown only the outer reach of an encounter or epiphany, leaving us to populate much more with our imaginations because how most people behave towards each other in this world.

AIDS hangs over every single scene. His lover died not too long ago from AIDS-related complications while there is ambiguity (which will be elaborated upon later) that makes one suspect whether or not Adrian also had HIV/AIDS himself after all. Much of Dale’s (and Eileen’s though less so) discomfort with Adrian can be written off as garden variety homophobia derived from common American attitudes but intensified by religion and place specific culture around them; on the other hand they are also afraid that one of their sons will die of gayness, as they might see it. They truly and deeply love them but their fear and hatred has conjoined to and ignited contradictory emotions within them that they cannot comprehend.

All the leading performances were careful and sincere, where Tan’s direction was unobtrusive. Whenever he comes back home Adrian’s accent seems stronger than ever. When Adrian tried to show how happy he is in New York with his lavish Christmas gifts for the family which only made his dad feel inadequate, Dale’s jaw line became more pronounced. Shots zoom into scenes very slowly, so slow that one would say it’s preferred by the film if the characters didn’t realize someone was watching them.

These wordless lyrical interludes are perhaps just a few too many, not to mention that they go on for a moment longer than they should have taken their point, which is also something you can say about the film, for it is in a hurry but not to be in a hurry just small flaws. Each choice made by this film adds to its plot or characters and life sense in general, especially visually. The moment when the people are at least opening themselves up as much as they can Tan and Hutch’s camera moves back from them for so long that it seems it wants to give them some privacy at the hard time.

For instance, three conversations between Adrian and Carly happen mostly through medium shots. In one of the most painful scenes a late night chat with Adrian and Dale who has drunk two beers while feeling nostalgic it takes four minutes before it finally cuts into Dale’s face after having shown him standing from top to bottom on the screen. The sight of these people breaking down and crying feels almost obscene like sacrilege.

To return to some romanticized past seen only by Eileen, Dale and Adrian are different as they may be united by recollections of the now. That explains why Eileen always chooses Adrian’s intact bedroom as her secret hideaway from sleep; it is where she used to sit reading stories aloud for her adorable boy until he grew up a little bit and realized that he was different from other boys at school anymore when puberty started coming towards him slowly but surely.

But there’s no going back. And then one day after some point you cannot move forward any more either. It means that whatever year we have reached our present moment is always what matters most.

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