Forget about "Making Love", "Cruising" and "Partners". "Parting Glances" is where real gay filmmakers began putting their ideas onto screen, much like writers had been doing on stage for years. "Parting Glances" is set in Manhattan where two lovers (Richard Ganoung and John Bolger) prepare to part while Bolger goes overseas on a long business venture. Ganoung's ex-lover (Steve Buscemi, in his break-out role) is HIV positive and possibly dying, and Bolger knows that he risks loosing Ganoung while he's gone. A group of their friends (hosted by "The Drew Carey Show's" Kathy Kinney, as far from Mimi here as she can be) show up for a surprise farewell party in her SoHo apartment, and like the party of "Boys in the Band" and those in gay cult classics "Auntie Mame" and "Breakfast at Tiffany's", will be unforgettable.
It is here where the audience meets all sorts of gay prototypes, from a former priest still to shy to fully accept his homosexuality, the cute "twink" record store clerk with a crush on Ganoung, the wealthy but overweight queen who seems to "buy" companionship, and the various artistic types, both straight and gay, who interject some minor conflicts into the proceedings. There's also a visit to a Chelsea Club where the music of Bronski Beat is heard in the background to give the film a true 80's feel.
The film has some very slow moments (particularly a dinner party with Bolger's boss and his wife) which are important in setting up various plot elements, but once you get to Kinney's party, its all set to go. Kinney is unforgettable, her warm-hearted pal so comfortable that you long to have her in your own circle. (I can say, having met Ms. Kinney, that this is very close to her own personality rather than the obnoxious, overly mascara'd Mimi). Bolger, best known for his long-term roles on half a dozen soaps (he'd just come off of "Guiding Light" as Philip Spaulding), adds charm to his "Ken Doll" character, while Ganoung and Buscemi really do sparkle together in their prankish scenes as the still friendly ex's. (Their revenge against the portly queen in one of the final scenes is hysterical, even if it is a bit cruel spirited...)
This film for me had a very special meaning in the mid 1980's as it gave me the courage to open up to myself the truth of my own sexuality, and I'm sure it had the same influence on others afraid to come out during the early years of HIV. The issue is strongly dealt with through Ganoung's character who vows to fight Washington while dealing with his knowledge that Buscemi might succumb to AIDS eventually. These characters are really identifiable in the gay world of Manhattan (pre-technology obsessed), and as a film, this remains an important piece of art that has now become a gay classic.
It is here where the audience meets all sorts of gay prototypes, from a former priest still to shy to fully accept his homosexuality, the cute "twink" record store clerk with a crush on Ganoung, the wealthy but overweight queen who seems to "buy" companionship, and the various artistic types, both straight and gay, who interject some minor conflicts into the proceedings. There's also a visit to a Chelsea Club where the music of Bronski Beat is heard in the background to give the film a true 80's feel.
The film has some very slow moments (particularly a dinner party with Bolger's boss and his wife) which are important in setting up various plot elements, but once you get to Kinney's party, its all set to go. Kinney is unforgettable, her warm-hearted pal so comfortable that you long to have her in your own circle. (I can say, having met Ms. Kinney, that this is very close to her own personality rather than the obnoxious, overly mascara'd Mimi). Bolger, best known for his long-term roles on half a dozen soaps (he'd just come off of "Guiding Light" as Philip Spaulding), adds charm to his "Ken Doll" character, while Ganoung and Buscemi really do sparkle together in their prankish scenes as the still friendly ex's. (Their revenge against the portly queen in one of the final scenes is hysterical, even if it is a bit cruel spirited...)
This film for me had a very special meaning in the mid 1980's as it gave me the courage to open up to myself the truth of my own sexuality, and I'm sure it had the same influence on others afraid to come out during the early years of HIV. The issue is strongly dealt with through Ganoung's character who vows to fight Washington while dealing with his knowledge that Buscemi might succumb to AIDS eventually. These characters are really identifiable in the gay world of Manhattan (pre-technology obsessed), and as a film, this remains an important piece of art that has now become a gay classic.