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Wow! Such a good movie.

Simply A Masterpiece

While it is a pity that the story wasn't told with more visual finesse, this is trivial compared to our real-world problems. It takes a good movie to put that into perspective.

This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

I was extremely pleased with Netflix for carrying this title on its stream. Brave choice. It is ironic that a film shot from the opposite perspective, that of an old man who might pursue sex and love with a receptive much-younger man, would still be considered too taboo to stream on a conventional site. As a gay man who was once courted aggressively at 50 by a 25-year-old, I can attest to the validity of the subject matter.That is what makes this film worthy of an audience. The acting is not its strong point, despite veteran Katie Boland's contribution. Pierre-Gabriel Lajoie as Lake has moments of protagonist charisma, but they come and go. He comes across as more confused than his character's behavior suggests. It would have been nice if his behavior was played as a form of more confident self-acceptance. I can't imagine what it took to get this project funded. So I understand it was a shoestring production. With that in mind, it is amazing to me that it was able to portray the core theme with sensitivity and humor without seeming like a high school play. It was, however, unfortunate that Walter Borden's Mr. Peabody was played to stereotype. This was a constant reminder to me that it was a low-budget indie.

There are precious few good gay films. It's just a fact. Usually the few good ones are foreign so this is disappointing because it was Canadian but that is almost American so there you go. Dialogue is stilted and script is formulaic. Actors try but plod along with material inferior that they attempt to embroider with a lifted brow here and there or a sad eye. The male star is pretty so he's a diversion but after the first swimming pool scene, you're ready to switch to reruns of 'Dark Shadows' TV show. Is it really believable that a very handsome young gay man would be smitten and erotically motivated by sagging flesh, wrinkles, fallen posteriors and pot bellies? I know it might exist (just like chubby chasers) but I find it difficult to swallow. It is very nice to fantasize about by someone like myself who am 65 and counting now and would like to justify still going to the gym, but...

Despite its subject matter, 'Gerontophilia' could mark Bruce La Bruce's entry into polite film-making society: in contrast to his earlier works such as 'Raspberry Reich' and 'Skin Gang' it is possibly his most accessible work to date.Lake (no really), a young man in his late teens/early twenties, gets a job in an old people's home. This is close to being all his Christmases rolled into one, because Lake is turned on by the elderly. He becomes especially close - in more ways than one - to 81 year-old Melvyn (when a nurse describes Melvyn as being 'a very sick man' one might think as this is a La Bruce film that's to be expected, but she actually means he is very ill. I think.) Melvyn wants to see the Pacific Ocean one last time before he dies, and Lake tries to make his dream come true. But how will Melvyn fare outside the controlled environment of the home?In terms of storyline, this is an interesting film, told in a linear, non-confusing fashion. And the acting is acceptable: if Pier-Gabriel Lajoie, as Lake, is a little stilted when speaking in English he's a lot more natural in his (I assume native) French; and Walter Borden, as the elderly homosexual, keeps the queeniness on a subtle, unembarrassing level. But let's be honest: what attracts a lot of people to La Bruce films is the promise of nudity: although a lot of it is cinema of the grotesque, there'll usually be some young, firm flesh on display. But there's precious little of it in this film: the very handsome Lajoie provides just one quick shot of his bare backside (and it seems unlikely the full-frontal shots of Borden will excite anyone except, y'know, gerontophiles). So while this may bring La Bruce to the attention of a whole new audience, his old fans may miss the chaotic nature of his previous films, as well as the flesh.

Bruce LaBruce's 'Gerontophilia' exists on one level as a bold and thoughtful exposé of the shocking treatment of geriatrics in some care homes, whereby they pass their days under heavy sedation so as to make them less of a problem to handle. Though well-scripted and acted, this theme is hardly novel, having been seen in many earlier films, including Henry Koster's delightful mixture of the tragic and comic in 'Mr Belvedere Rings The Bell'. What makes 'Gerontophilia' unique is its other level - an unusual account of the developing relationship between the octogenarian Mr Peabody (Walter Borden in a complex and completely convincing performance) and a youthful student, Lake, who decides to intervene and improve Peabody's quality of life. This decision is not, however, completely altruistic since Lake is one of that minority of young males who are turned on sexually by old men. It is to LaBruce's great credit that he treats this controversial subject with just the right amount of restraint, avoiding the lurid, but not being afraid to call a spade a spade. There are no actual lovemaking scenes in bed, but sufficient moments where Lake's attraction to old flesh is made manifest, at the film's ending through the medium of humour, earlier in a poignant scene where Lake sketches Peabody with, as one might say, no holds barred. The film of course has its flaws: Pier-Gabriel Lajoie as Lake is just too impossibly good-looking, though this is to some extent offset by the charisma of his performance and his unerring sense of fun. Also there's the suggestion, inferred rather than stated, that his curious sexual preferences stem from his relationship with his drunken mother, but this comes over as a trite rather than illuminating idea. These, however, are small matters. This movie is a charming and unpredictable insight into a sub-world which is not just French-Canadian but universal, and will be a welcome addition to the programmes of those art cinemas brave enough to show it.