BENT

INTRODUCTION: British talent and Japanese money come together for what has got to be the most sumptuous looking independent of the year. A tale from the Second World War based on a Martin Sherman play rather than a true story for a change. 

SYNOPSIS: Max (Owen) and Rudi (Webber) find themselves fleeing Hitler's homophobic purges of Berlin, on the now infamous 'night of the long knives'. After years in the wilderness they are finally captured. To avoid the punishment meted out to 'perverts' Max passes himself off as Jewish, (hey, nobody said he was smart) and soon finds himself on a train en-route to Dachau, where he encounters Horst (Bluteau) imprisoned for his homosexuality. Horst explains that the train journey is used to break the prisoners' will and helps Max to survive. 

REVIEW: I know what Horst means, I commute to work daily and strongly suspect that Branson is using Virgin Trains for a similar purpose, but none of the horrors that I have experienced come even close to the indignities heaped upon Max. 

First staged in 1979 at London's Royal Court Theatre, Sherman's play caused immediate outrage due to its portrayal of a homosexual relationship. A movie version has been in the works ever since, but it was not until Mathias resurrected the play in 1992 that it became a real possibility. This is Mathias' screen debut and it shows. A very powerful film with a strong plot, excellent dialogue and a stunning conclusion, greatly enhanced by a sympathetic cinema manager, but despite the new material and the impressive production values it soon betrays its theatrical origins as we are treated to endless footage of two men walking around a small court discussing their relationship as they are engaged in their Sisyphian task of moving rocks from one pile to another and back again. 

Owen and Bluteau capture perfectly the relationship between these two people caught up in a situation few of us can even imagine, a relationship that leads to one of the most immaculate 'climaxes' since Harry met Sally in a roadside cafe. They play off each other creating one of the most convincing pairings in cinematic history and this just highlights the horror of the situation. Watch out for bizarre cameos from Ian McKellan, who played Max in the original stage production, Mick Jagger as George/Greta and the brilliant Jude Law. 

Weakened by its staged feel, one suspects a director more familiar with the screen could have made more of it. The film was nevertheless good enough to be awarded the Prix de la Jeuresse at Cannes '97, and with the Fascists once again on the rise in the west, this film provides a timely reminder of the horrors lurking in the back of their ideological closet. 

If you can accept the high level of verbiage and lack of action the film is a rare treat. 

Mutt's Rating: ****

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