Heather Graham, Tom Cavanaugh, Bridget Moynahan, Alan Cumming, Sissy Spacek. Comedy. Written & directed by Sue Kramer.
FILM SYNOPSIS: An inseparable brother and sister meet a lovely woman in the park. Bro immediately falls for her and that weekend they are off to Las Vegas to get married. Small problem: Sis is also in love with said lovely woman and tags along in hopes of wooing the woman for herself. Her camouflaged attempts are unsuccessful and the brother gets a wife. As the sister comes out of the closet with her gayness awareness and her declaration of love for her new sister-in-law, it causes great turmoil between the siblings. PREVIEW REVIEW: As the subject of homosexuality and its national acceptance has been addressed often by this writer, I would prefer to focus on the film’s artistic shortcomings rather than the lesbianism. Here we go. I still maintain that Because I Said So is the worst film so far this year. But Gray Matters is a close contender. (By the way, Gray is the name of Heather Graham’s character. It’s the second film this year wherein the female lead was saddled with that cheerless color as a name. Is Gray the new Brittany or Heather?) Along with relaying a pro-same-sex message, Gray Matters is hampered by klutzy comedy, ditzy dialogue and a pea-brained plot. It tries to be both titillating and insightful, but I think even gay activists will be insulted. It’s Hollywood-ized picture of the glamorous world of lesbianism is cartoonish and plastic. Here’s an example of the “hilarious” humor. Gray and a male friend go to a lesbian bar, but they won’t let him in. You know, because he’s a M-A-N. Guess, what he does so Gray won’t have to go in by herself? Go on, guess. You got it. He dons a dress and makeup. With his unhidden hairy chest and a falsetto octave that wouldn’t mislead Helen Keller, he plays the fool. And of course, there’s a big, brutish lesbian who thinks he’s just the cat’s meow. I found the lead to be a selfish and amoral character. Gray is so close to her brother that new acquaintances assume they are a couple, not brother and sister. Yet she is rather callous when it comes to his marital happiness. Imagine: you have a sibling who finally finds a meaningful relationship, but you are also attracted to that person. Would you back off or put yourself deliberately between them in hopes of winning the heart of your sibling’s new love? I realize that affairs of the heart tend to trump good sense or even love for others, but the depiction here seemed careless and self-centered. The filmmakers don’t muster enough effort to make it good satire, screwball or bawdy drawing room comedy, or even plain old burlesque. It seems to serve no further objective than to place one more building block in the subconscious of this generation concerning the merits of same sex couplings. The ladies are beautiful and the entire cast sparkles enough to momentarily blind audiences to the shallowness of the script. I expect, upon reflection, most will find this nonsense about as effective as amateurish filmmaker Ed Wood’s campy ‘50s Glen or Glenda.
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