The Fruit Machine (1988)

Réalisateur:

Philip Saville

Scénariste:

Frank Clarke (writer)

Date de sortie:

9 novembre 1989 (Australia)

Genre:

Drame

Intrigue:

Two gay teenagers go on the run after witnessing a murder.

Plot Keywords:

Gay | Dolphin | Gay Teenager | Hustler | Homosexual

Avis des utilisateurs:

"You think you're a man"

Ensemble

Emile Charles	...	Eddie
Tony Forsyth	...	Michael
Robert Stephens	...	Vincent
Clare Higgins	...	Eve
Bruce Payne	...	Echo
Robbie Coltrane	...	Annabelle
Carsten Norgaard	...	Dolphin Man
Kim Christie	...	Jean
Louis Emerick	...	Billy
Joseph Carrington	...	Ray
Julie Graham	...	Hazel
Paula Ann Bland	...	Beverley
Niven Boyd	...	Dave
Claire Parker	...	Young Jean
Caroline Milmoe	...	Lillie

Autre(s) titre(s):

Wonderland

Durée:

103 min

Pays:

UK

Langue:

Anglais

Couleur:

Couleur

Rapport de forme:

1,66 : 1

Son:

Dolby

Classification:

Canada:R (Manitoba/Nova Scotia/Ontario) | Australia:M | USA:R | West Germany:16 | UK:15

Lieux de tournage:

Brighton, East Sussex, England, UK

Société:

Granada Television

Guillemet:

[after seeing his buddy, who protests that he is NOT a rent boy get out of a car driven by an older man]
Eddie: Who's he?
Michael: It's, eh, my uncle.
Eddie: Uncle who?
Michael: It's my uncle Dick. Yeah, that's right. My Uncle Dick.

Connexions De Film:

Références Saturday Night and Sunday Morning (1960)

Bande son:

The Fruit Machine

"You think you're a man"

The film "Wonderland" (aka "The FruitMachine") is a surprisingly dippy, imaginative romp involving two gay teenaged boys who happen to witness a gangland murder and are forced to flee Liverpool for Brighton. The film takes many inventive turns, several of which involve Eddie's dream lover, a man-dolphin hybrid who actually appears at crucial moments in the film to save Eddie and his partner, Michael. There are many subplots and colorful supporting characters, and the ending, albeit sad, is inevitable. It's worth it if only for the dance sequence at the Fruit Machine, a gay showbar in Liverpool, in which Michael competes for thirty quid. His dance is both erotic and touchingly naive. Both boys, Emile Charles and Tony Forsyth, should have had big careers in film. Apart from one distracting editing lapse that blunts the finale, this is a superior film, in that it refuses to indulge in stereotyping and doesn't condescend to its lead characters.