PARK CITY, Utah -- A straightforward, coming-of-sexual identity story about a gay photographer from Indiana who has migrated to the flats and hills of West Hollywood, "Billy's Hollywood Screen Kiss" is a solid, sensitive drama about a young man's quest to balance his life.
A well-realized and often witty film, this Sundance Film Festival dramatic competition entrant will do well on the festival trail and should buff some select-site change in art house venues.
Sean P. Hayes stars as Billy, who is taking his lumps as a fledgling photographer in Hollywood. He's out of work, out of love and -- though he regards the necessary payment of dues in launching a career -- has no dreams of wallowing in poverty or despairing in singledom. After the perfunctory dalliances and flings, Billy's keen camera eye focuses on a classically handsome young musician aptly named Gabriel (Brad Rowe). The looming hangup: Is Gabriel gay? After all, he alludes to a girlfriend in San Francisco (but not frequently), and on the K-scale (Billy's indicator of "straightness"), he scores on the gay side.
The central story is somewhat one of puppy love as young Billy casts adoring eyes at Gabriel, but it is nicely rounded with broader, psychological insights into love. Billy tends to project things and get in relationship doldrums because of his shy way of assessing romance that often turns out to be completely off base. While the film depicts a gay romance, the psychological pinions and missteps transcend sexual preference.
"Billy"'s appeal is due, in large part, to the measured, sympathetic performances of its leads. Hayes brings an everyman aspect to his character, the sort of person for whom you root to succeed; and as the sexually conflicted Gabriel, Rowe's canny performance shows the inner anxieties of a young man who on the surface appears placid and perfect. Supporting players, including Richard Ganoung and Meredith Scott Lynn, bring credible shadings to their roles, while Paul Bartel aptly camps it up as a big-time photographer.
This "Screen Kiss" is nicely fleshed by smart technical assists, namely Alan Ari Lazar's dicey score and Julia Bartholomew's personality-revealing costumes.
BILLY'S HOLLYWOOD SCREEN KISS
A Tommy O'Haver trifle
Producer: David Moseley
Screenwriter-director: Tommy O'Haver
Line producer: Irene Turner
Co-producers: Meredith Scott Lynn,
Irene Turner
Associate producer: Marcus Hu
Director of photography: Mark Mervis
Editor: Jeff Betancourt
Costume designer: Julia Bartholomew
Production designer: Franco-Giacomo Carbone
Choreography: Michele Spears, Joseph McKee
Music: Alan Ari Lazar
Music supervisor: Robin Urdang
Casting: Robert McGree
Color/stereo
Cast:
Billy Collier: Sean P. Hayes
Gabriel: Brad Rowe
Perry: Richard Ganoung
George: Meredith Scott Lynn
Rex Webster: Paul Bartel
Whitey: Matthew Ashford
Holly: Holly Woodlawn
Running time -- 89 minutes
No MPAA rating...
A well-realized and often witty film, this Sundance Film Festival dramatic competition entrant will do well on the festival trail and should buff some select-site change in art house venues.
Sean P. Hayes stars as Billy, who is taking his lumps as a fledgling photographer in Hollywood. He's out of work, out of love and -- though he regards the necessary payment of dues in launching a career -- has no dreams of wallowing in poverty or despairing in singledom. After the perfunctory dalliances and flings, Billy's keen camera eye focuses on a classically handsome young musician aptly named Gabriel (Brad Rowe). The looming hangup: Is Gabriel gay? After all, he alludes to a girlfriend in San Francisco (but not frequently), and on the K-scale (Billy's indicator of "straightness"), he scores on the gay side.
The central story is somewhat one of puppy love as young Billy casts adoring eyes at Gabriel, but it is nicely rounded with broader, psychological insights into love. Billy tends to project things and get in relationship doldrums because of his shy way of assessing romance that often turns out to be completely off base. While the film depicts a gay romance, the psychological pinions and missteps transcend sexual preference.
"Billy"'s appeal is due, in large part, to the measured, sympathetic performances of its leads. Hayes brings an everyman aspect to his character, the sort of person for whom you root to succeed; and as the sexually conflicted Gabriel, Rowe's canny performance shows the inner anxieties of a young man who on the surface appears placid and perfect. Supporting players, including Richard Ganoung and Meredith Scott Lynn, bring credible shadings to their roles, while Paul Bartel aptly camps it up as a big-time photographer.
This "Screen Kiss" is nicely fleshed by smart technical assists, namely Alan Ari Lazar's dicey score and Julia Bartholomew's personality-revealing costumes.
BILLY'S HOLLYWOOD SCREEN KISS
A Tommy O'Haver trifle
Producer: David Moseley
Screenwriter-director: Tommy O'Haver
Line producer: Irene Turner
Co-producers: Meredith Scott Lynn,
Irene Turner
Associate producer: Marcus Hu
Director of photography: Mark Mervis
Editor: Jeff Betancourt
Costume designer: Julia Bartholomew
Production designer: Franco-Giacomo Carbone
Choreography: Michele Spears, Joseph McKee
Music: Alan Ari Lazar
Music supervisor: Robin Urdang
Casting: Robert McGree
Color/stereo
Cast:
Billy Collier: Sean P. Hayes
Gabriel: Brad Rowe
Perry: Richard Ganoung
George: Meredith Scott Lynn
Rex Webster: Paul Bartel
Whitey: Matthew Ashford
Holly: Holly Woodlawn
Running time -- 89 minutes
No MPAA rating...
- 1/26/1997
- The Hollywood Reporter - Movie News
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