THE DYING GAUL
US, 2004, 105 minutes, Colour.
Patricia Clarkson, Peter Sarsgaard, Campbell Scott.
Directed by Craig Lucas.
Early in this film about film-writing, Campbell Scott’s Jeffrey, an intense and acquisitive Hollywood producer, explains to the writer (Peter Sarsgaard in yet another different and finely tuned performance) that audiences go to movies to be entertained, not to learn, and that no one will pay to see a movie entitled The Dying Gaul.
He is probably right - in this case. And those who do venture out to see it will have demands made on them, especially in terms of realism (or not), memories and reflections on memories (many of them portrayed by dialogue in an internet chat room). The film is not predictable.
We also have to reflect on the explanation given of the Roman statue of the Dying Gaul. Gauls were enemies but a Roman sculptor created a masterpiece sympathetically depicting an outsider, an enemy. In this film Jeffrey finishes in that pose. Is he the contemporary Dying Gaul and, if so, why?
Craig Lucas (Broadway playwright and screenwriter of Longtime Companion, Prelude to a Kiss and The Secret Lives of Dentists) has written a very literate script that demands attention. While he mocks Hollywood (and its need to change a homosexual story to a heterosexual one – which does not happen in this film), he looks closely at affluence and success, at relationships, both homosexual and heterosexual as well as family, at betrayal, secrets and lies and at deep hurt. He is well served by the performances also of Scott and Patricia Clarkson as Scott’s wife.
Not an easy film but, because it raises so many questions and its plot is so elliptical, it is always intriguing.
1. The discussion about commercial films, commercial titles? Moviegoers and their motivation? Going to see a film called The Dying Gaul? Application to this film itself?
2. The title, its meaning? The statue in Rome, the visual presentation of the statue, its meaning? In the life of Robert and Malcolm and their visit? The Gaul, the enemy, carved by a Roman? Sympathetic? The outsider, the enemy? As applied to gay men? Who was the Dying Gaul at the end? The picture of Jeffrey, who killed him?
3. California settings, Hollywood, the studios, offices? Affluent homes? The musical score and its different style?
4. Robert, his screenplay? His personality, his grief, seeming weak, the visit to Jeffrey, the discussion about the screenplay and rewrites? The offer of a million dollars? His agreeing to the money, to the change to a heterosexual film? The cat-and-mouse interactions with Jeffrey? His reasons for taking the money, going home, the bath and ringing his son, the promise to his mother to give the money for his education? His being haunted by the memories of Malcolm?
5. Jeffrey, an industry man, enjoying doing deals, wanting the Dying Gaul, his philosophy of film-making, his philosophy on films? His liking weepies? His wanting to change the characters? Doing the deal, his excitement with Elaine? His attraction towards Robert, the come-on? His relationship with Elaine, loving her, the marriage, the children? The detail of home life, reading to his children?
6. Beginning the affair, his reasons, his explanations, bisexuality, needing his wife and family? The double life?
7. Robert being invited to the home, Elaine reading the screenplay and being moved, her motherly friendship towards Robert? The visits, the picnics and playing with the children? The film preview and their discussions? His betraying Elaine?
8. Elaine as a writer, her love for her husband, family? Managing the household, the affluence, the maid? Her swimming and exercise? Liking Robert, sharing intimate discussions with him?
9. The role of chat rooms, Robert identifying his favourite, Elaine finding it, finding him, interacting with him? The intimacy, the secrets? Her assuming the character of Malcolm, Ark Angel? Having read the script, knowing so much about Robert? Malcolm’s appearance and voice as she wrote her messages? The nature of their love, the Buddhist philosophy, the secrets, the illness? The assisted death? He telling the truth to his correspondent, explaining about Geoffrey, the affair, not wanting to hurt his wife, the possibility of the marriage break-up? Geoffrey’s speculation about killing and the reference to Crimes and Misdemeanours? His revealing too much?
10. His understanding that Elaine was the correspondent? The previous explanations of the garden, Monkhood and its poison? His trying to take it, sick? His being sorry? The background of the memories of Malcolm, Malcolm appearing, the illness, the brain operation, his giving him the injection?
11. Elaine and her controlling the situation, the appointments? Robert’s arrival and the confrontation? Her telling Jeffrey to come back later, his confession? With the children, in the car? The news of her driving into the wall and killing them all?
12. Jeffrey with Robert, the phone call, hearing the news – and the image of the Dying Gaul?
13. Robert, the aftermath, his being massaged, the masseur telling him how much he liked his films?
14. The film as realistic, imaginative? The film as portraying meanings, psychological states? The realism of the film – or a speculative screenplay brought to the screen?
