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Thanks to Ryan Murphy, Netflix throws an inclusive ‘Prom’

A queer story with mainstream pop appeal

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The Prom, gay news, Washington Blade
The cast of ‘The Prom.’ (Photo courtesy Netflix)

According to Ryan Murphy, he wanted to make a film version of “The Prom” since the moment he saw it on Broadway.

Watching the new Netflix movie that resulted from that spark of inspiration, it’s not hard to see why. The musical, which found a hardcore fan audience despite a less-than-profitable Broadway run, is a piece that is a perfect match for the entertainment mogul’s brand, a frothy mix that exists on the thin line between camp and hokum, blending sharp-edged wit with inspirational sentiment and over-the-top farce with activism. It’s a queer story with mainstream pop appeal that leans heavily into a love of All Things Broadway. Unless there was also a serial killer thrown in somewhere, how could anything be more Ryan Murphy than that?

There was more behind Murphy’s enthusiasm for the piece than just a savvy selection of tailor-made grist for the entertainment mill that is his contract with Netflix, however. As an LGBTQ person who grew up in a small Indiana town himself, the show-biz powerhouse found a personal connection to its story of an Indiana teen who has to fight against the homophobia of her small town community in order to take her girlfriend to their high school prom. It spoke to his own memories and hopes – and as it turns out, that heart connection is the ingredient that makes his translated-to-film version of “The Prom” much better than it probably deserves to be.

Inspired by the real-life experience of Mississippi high schooler Constance McMillen, the story centers on Emma Nolan (Jo Ellen Pellman), an out lesbian senior whose plan to take her secret girlfriend Alyssa (Ariana DeBose) to the prom is thwarted by her school’s PTA-mandated no-same-sex-date policy. Her cause is taken up by a group of down-on-their-luck Broadway actors — including a famous but fading diva (Meryl Streep) and her GBF (James Corden) — whose co-starring turn in a musical based on the life of Eleanor Roosevelt has just closed after only a single performance. They hit upon the scheme of creating an activist cause around her in order to garner some career-boosting publicity.

Along with Emma’s supportive principal (Keegan-Michael Key), they succeed in forcing the school to hold an inclusive prom; but when the PTA president (Kerry Washington) uses a loophole to shut Emma out anyway, the cadre of showfolk will have to dive deeper than their own self-centered motivations if they are going to be able to make things right again and score a decisive win against homophobia in the heart of small-town America.

As written by Bob Martin and Chad Beguelin (with the latter providing lyrics to music by Matthew Sklar), the musical is unabashedly designed to be a crowd-pleaser, full of comedy and heart, with just enough drama to make it mean something and a message only a bigot could refute; the score, spiced up with youthful flourishes but nevertheless grounded in a stylistic base that is pure traditional Broadway, is exuberant and infectious, and allows plenty of opportunity for the kind of show-stopping dance numbers that make an evening of live musical theater an experience quite unlike any other.

Presumably out of a desire to maintain the integrity of the show’s original voice, producer-director Murphy enlisted the trio of original writers to adapt their work to the screen; the result is an expanded but mostly faithful reimagining that maintains the bones of its stage-bound architecture while also deepening some of its more sensitive moments with the kind of embellishment made possible by cinematic technique and a no-expense-spared budget.

That budget is also behind the film’s other biggest asset, a stellar dream cast headed by Streep and Corden, with Nicole Kidman and Andrew Rannells in close support – all in addition to the other talented stars mentioned above. It’s clear this high-profile ensemble is having a blast in their roles; Streep is in fine form, as always, and Corden is capable of charming us in anything (even, almost, the horror that was “Cats”), but everyone else performs at an equally high level; special mention should go to Kidman, though, for managing to take on the role of an aging chorus girl and making us believe that she’s been dancing in the background for 20 years without ever getting noticed – as if she weren’t, well, a superstar like Nicole Kidman.

These players are gifted enough to take the broadest, corniest, most cliched bits of the script – which, in truth, amounts to most of it, by design – and giving it not just the extra dimension it needs to be more than a goofy pastiche, but the enthusiasm and all-around show-biz moxie that keeps an audience engaged and entertained even when the story lags.

And it does lag, there is no denying it. As any aficionado of musical theater will surely tell you, all but the most remarkable of shows suffer from what’s often called the “second-act slump,” and “The Prom” is no exception. Indeed, it’s exacerbated here by the script’s reliance on the tried-and-true “beats” that have formed the core of the genre’s dramatic structure since the days when musicals made the transition from the era of Ziegfeld’s Follies to the age of “Oklahoma.” Onstage, this slavish adherence to traditional format is surely part of the show’s charm, another function of its lovingly self-mocking tone. But on film, without the in-person visceral excitement that comes from seeing those aforementioned dance numbers exploding before your eyes, it can be an obstacle to keeping the interest of audiences used to more sophisticated fare.

Thankfully, the film rendition of “The Prom” never lets its slow spots hold it back for long. Murphy the director relies on the strengths of his cast while filling the screen with the kind of artfully kitschy, colorful visual spectacle that makes even his pulpiest endeavors a feast for the eyes; and while his quick-edit cinematic style fails to capture the majesty of its dance sequences (choreographed with vigor and an aptly satirical touch by Casey Nicholaw) in the same way as the long takes of the classic Hollywood musicals that so clearly inform his palette here, the flash and movement with which he instills every moment of them is more than enough to keep us appropriately dazzled by them.

More importantly, though, he makes “The Prom” a success despite its flaws because of that heart connection that led him to make it in the first place; in the midst of all the larger-than-life “zazz” (to borrow a phrase from the film), he never lets us forget the importance of the human story underneath it, and the powerful message of acceptance that was intended to be the show’s reason all along.

It has to be acknowledged that Murphy’s track record is somewhat hit-or-miss for all but his most ardent fans, and that “The Prom” is the kind of bubbly, lightweight musical theater that you’re probably not going to like if you’re not a fan of that kind of material.

For everybody else though, it’s worth putting at the top of your Netflix queue when the streaming platform drops it on Dec. 11.

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SAG Award slate points to a not-very-queer Oscar night

‘Power of the Dog’ snubbed in Best Cast category

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Can Lady Gaga turn a SAG nomination into Oscar gold? (Photo courtesy of United Artists Releasing)

It’s mid-January, and pandemic or not, Hollywood’s “awards season” has kicked off in earnest.

The announcement last week of nominations for the 28th Annual Screen Actors Guild Awards means that it’s now time for armchair pundits, bookmakers, and film journalists to start compiling their predictions for the Oscars, which everyone knows are the main event when it comes to Hollywood awards.

This should be a good-natured exercise in fun, driven by a love for the movies and a genuine appreciation of the artistry of the people who make them – but at a time when the film industry is under deep scrutiny for diversity and inclusion, things can get complicated. 

Since they are decided by members of a union that also makes up a substantial portion of the Academy’s voting body, the SAG Awards are considered a reliable bellwether for the Oscars race, though with fewer categories than the Academy, not to mention the complex interplay of personal loyalties and working relationships that undoubtedly influence their choices, they still leave room for a lot of speculation. Still, their record for aligning with the Academy’s eventual choices makes it worth factoring them in as we attempt to assess the chances for our favorite contenders to earn Oscar gold.

For Blade readers, of course, the key question is likely to be about which of the year’s LGBTQ movies are going to snag wins. Unfortunately, the answer to that question might be pretty bleak.

Of the 22 titles nominated within the SAG Awards’ six film categories, only one – “The Power of the Dog” – could be said to have any significant queer content. Others, like “West Side Story”, “tick, tick… BOOM!”, “The Eyes of Tammy Faye”, “Being the Ricardos”, or “House of Gucci”, have either LGBTQ-relevant elements in their narratives or obvious LGBTQ appeal in their subject matter, and some have both. But there is no “Moonlight” or “Call Me By Your Name” on which to hang the hope of a definitively queer winner in any category.

In the Best Performance by a Cast in a Motion Picture race – which is essentially the SAG Awards’ equivalent of Best Picture – the biggest surprise is the omission of “Power of the Dog.” Filmmaker Jane Campion’s dark and subtle western about the toxic relationship between a domineering older rancher and his effeminate new nephew has been a fixture in the top categories at awards ceremonies so far, but despite earning nods in other categories, it was shut out of the competition for this one. That leaves little in the way of LGBTQ inclusion among the five nominees (“Belfast”, “CODA”, “Don’t Look Up”, “House of Gucci”, “King Richard”), but it doesn’t keep “Power” from being a front-runner at the Oscars, where the Best Picture category can include up to 10 contenders. Even if all five of the SAG choices make it into the Academy’s race, Campion’s movie is almost certainly going to be there, too. The same can probably be said of “West Side Story”, another presumptive front-runner, but given its track record of wins so far, “Power” still stands as our favorite to take the honor on Oscar night.

For Best Performance by a Female Actor in a Motion Picture, the lineup includes several films of LGBTQ interest. “The Eyes of Tammy Faye,” which earned a nod for star Jessica Chastain, is a biopic that takes time to address its real-life protagonist’s surprising legacy as a queer ally; “Being the Ricardos,” though it contains no directly LGBTQ material, has the obvious appeal of focusing on Lucille Ball, a show biz icon beloved for decades by the gay community, who is portrayed with delicacy and respect by nominee Nicole Kidman; Jennifer Hudson’s star turn as Aretha Franklin – another legendary diva with queer appeal – snagged her a nomination for “Respect”; and finally, Ridley Scott’s “House of Gucci” grabbed another nod here for Lady Gaga, the only out member of the LGBTQ community in the running. It would be great to see Mother Monster take home this prize, but she’s got stiff competition; based on honors given out so far, she stands as a frontrunner, but with Hudson and Kidman in the mix, not to mention awards darling Olivia Colman (nominated for “The Lost Daughter”), it feels like anybody’s race. Win or lose at the SAGs, Gaga still has a strong chance of being included in Oscar’s Best Actress category – as does out actress Kristin Stewart, whose performance as Lady Diana in “Spencer” puts her solidly on the Oscar shortlist, despite being snubbed here.

Best Performance by a Male Actor in a Motion Picture might also be wide open. A few weeks ago, Benedict Cumberbatch would likely be the clear favorite to win for his towering performance as the closeted rancher in “Power of the Dog”, but after fellow nominee Will Smith’s win at the Golden Globes for “King Richard” his chances seem less sure. It’s a category that includes two Black actors – Smith and Denzel Washington (“The Tragedy of Macbeth”) – and on a slate that is otherwise dominated by white nominees it’s one of the few opportunities for the SAGs to diversify its winners’ circle. It’s also worth mentioning that Andrew Garfield, nominated for “tick, tick… BOOM!”, won the Globes prize for Best Actor in a Comedy or Musical, which combined with widespread acclaim for his performance makes him a strong contender to pull off an upset from either of the two frontrunners – a scenario likely to be repeated at the Academy Awards. In any case, Washington and Javier Bardem (nominated for playing Desi Arnaz in “Being the Ricardos”) are probably the dark horses here.

In the supporting categories, things look even less promising for LGBTQ inclusion. Nominated for “West Side Story” is Ariana DeBose, who is the clear favorite to win as Female Actor, though Kirsten Dunst’s quietly devastating performance in “Power of the Dog” has been accumulating considerable buzz, too. Both will likely be included at the Oscars as well. On the Male Actor side, the most clearly queer-friendly choice is Kodi Smit-McPhee, also for “Power of the Dog”; it’s a wild card category, skewed by the presence of big names (Ben Affleck and Bradley Cooper, nominated for “The Tender Bar” and “Licorice Pizza”, respectively) who might gain votes on the basis of star status alone, but Smit-McPhee has made a consistently strong showing throughout the awards race so far – and frankly, deserves to win just for his ability to hold his own opposite the charismatic Cumberbatch. He’s our favorite in the category not just here, but also on Oscar night.

The SAG Awards, of course, also present awards for television. Those don’t have much bearing on the Oscars, but it’s worth mentioning that the nominees there include LGBTQ-relevant favorites like “The Handmaid’s Tale”, “Succession”, “Hacks”, “The White Lotus”, and “Halston.” We’ll take a closer look at those when the Screen Actors Guild makes their presentation, which will air live on TNT and TBS, on Sunday, Feb. 27.

Meanwhile, it’s time to start working on those Oscar predictions. Ready, set… GO!

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‘Being the Ricardos’ pops with excitement of 1950s TV

Acclaimed film is Sorkin at his best

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Nicole Kidman in 'Being the Ricardos.' (Screen capture via Amazon Prime Video)

If the cold and COVID have brought you down, check out “Being the Ricardos.” The entertaining film, written and directed by Aaron Sorkin, is streaming on Amazon Prime.

“Being the Ricardos” is the TikTok of a week in the McCarthy era that was a season in hell for gay icon Lucille Ball (Nicole Kidman) and her husband Desi Arnaz (Javier Bardem).

Ball was a gay rights supporter. “Some of the most gifted people I’ve ever met or read about are homosexual,” she told People magazine in 1980.

“I Love Lucy,” the 1950s sitcom starring Ball, was the most-watched show on TV.

From 9 to 9:30 on Monday evenings, Americans watched Lucy and her bandleader husband Ricky (Arnaz) Ricardo and their best friends Ethel (Vivian Vance) and Fred (William “Bill” Frawley) Mertz. They laughed at Lucy’s antics – such as when she and Ethel can’t keep up on a chocolate factory assembly line. “I Love Lucy” is streaming now on Hulu, and clips of it are on YouTube. 

“Being the Ricardos” takes place during the filming (from the table read to performing it in front of a studio audience) of an “I Love Lucy” episode.

As work on the episode begins, Arnaz and Ball are distressed to hear a “blind” item on right-wing gossip-monger Walter Winchell’s popular radio show. In the heyday of McCarthyism, Winchell tells America that a “top” comedian has Communism connections.

Ball and Arnaz know that being labeled a Communist could ruin not only your career but that of anyone associated with you.

Ball, who lived from 1911 to 1989, had a rough childhood. After her father died when she was 10, Ball was raised by her grandparents. Her grandfather was a socialist. Out of respect for her grandfather, in 1936, Ball registered to vote as a Communist.

Previously, the House Un-American Activities Committee had compelled Ball to testify. After she testified, they told her that they had cleared her of suspicions of being a Communist.

Ball and Arnaz are gobsmacked to hear from Winchell that she’s under suspicion again. Other than once checking a box for the Communist Party in the 1930s, Ball hasn’t had anything to do with Communism. “My grandfather cared about the working man,” Ball tells the executives from CBS and Philip Morris (the program’s sponsor).

Much of the suspense of the movie lies in rooting for Ball to be cleared of HUAC’s baseless charges. But Sorkin, taking some liberties, has added on added layers of tension.

In real life, these events didn’t happen at the same time. But, in “Being the Ricardos,” while Ball is dealing with HUAC, she discovers that she’s pregnant with her second child.

The CBS and Philip Morris execs are freaked by this news. It’s the early 1950s, and people on TV (even if they’re as happily married as the Ricardos) sleep in twin beds. What will America do if they see a pregnant woman on TV? What do you mean, you’re 12 weeks pregnant, the suits ask Ball and Arnaz. “It means 12 weeks ago, I fucked my husband,” Ball says.

In yet another twist, Ball is dismayed when “Confidential,” the TMZ of its time, comes out with a story showing Arnaz with a sex worker.

There has been controversy about the casting of Kidman as Ball and Bardem as Arnaz. Because Kidman isn’t a comedian and Bardem is Spanish and Arnaz was Cuban.

Perhaps, because she’s not doing an impersonation, I think Kidman is terrific as Ball (as Ball off-screen and as Ball playing Lucy Ricardo). She won the Golden Globe this week for Best Actress in a Drama for the role.

As a white woman, I don’t feel comfortable weighing in on the controversy surrounding the casting of Bardem. But to me he nails it in his portrayal of Arnaz.

The other actors in the film are also terrific, especially, J. K. Simmons as William Frawley, Nina Arianda as Vivian Vance and Tony Hale as (showrunner) Jess Oppenheimer.

 “Being the Ricardos” is Sorkin at his best. It pops with screwball banter and the excitement of early 1950s TV. It’s not “Vertigo,” but you won’t want to take your eyes off the screen.

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‘Potato’ charms with tale of gay Russian immigrant and his mom

Awakening to queerness during collapse of the Soviet Union

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Luminous Pariah and Tyler Bocock in ‘Potato Dreams of America.’ (Photo courtesy Dark Star Pictures)

January can be a difficult month for film buffs. With so many awards contenders clamoring for your time and attention, there is certainly no shortage of titles among them to choose from, so it’s not a question of slim pickings. Sometimes, though, watching one “prestige” movie after another for an entire month can feel a little bit like being a student overloaded with homework; even if you’re studying a subject you like, you still need to take a break and do something just for fun every now and then.

Fortunately, in today’s ever-hungry market for fresh streaming content there are new choices to be had even in the middle of Awards Season, and this month’s pick of the crop is exactly the kind of fun, quirky, off-the-beaten-track queer story to provide the perfect palate cleanser when you’re feeling a little overwhelmed by the heavier fare queued up on your “watch next” list – though considering that it’s the tale of a gay Russian boy and his mother who flee a life of repression and hardship in their native country by emigrating to America, you might not expect it to be.

Set in the 1980s, “Potato Dreams of America” is an autobiographical offering from writer/director Wes Hurley. The “Potato” of the title is its lead character, a Vladivostok boy obsessed with American movies who is awakening to his queerness during the collapse of the Soviet Union. His mother Lena is raising him on her own, and as a prison doctor who is daily witness to the violence and hardship of being an adult male non-conformist in Russian society, she fears for his future safety. She decides to market herself as a mail order bride, and before long she and Potato are on their way to Seattle – where they will have to learn how to navigate life in America, a whole new culture with forms of oppression all its own.

Admittedly, it’s a synopsis that reads pretty bleak – but that’s precisely why “Potato Dreams of America” turns out to be such a delight. Rather than delivering the stark immigrant drama we’ve come to expect from stories such as this one, it turns those expectations upside down by offering twist after twist (along with a wry and consistent sense of humor) that keep it from becoming a predictable tale of woe and turn it instead into something much less dreary.

To begin with, there are the two central characters, a memorable pair of plucky souls who win our attention and our sympathies with their against-the-grain attitudes and refusal to give up on their dreams. They are surrounded by an ensemble largely made up of broadly drawn eccentrics; there’s Grandmother Tamara (Lea DeLaria), a no-nonsense traditionalist who lovingly doles out toxic cultural assumptions with her grandmotherly advice; there’s also John (Dan Lauria), Lena’s rigid and seemingly conservative American husband whose fundamentalist views might just be a smokescreen for a life he has always kept hidden. Characters such as these provide a layer of satire and social commentary but remain grounded enough in the emotional arc of the story to serve as believable characters, thereby investing them with enough humanity to soften the sharpness around their edges. This is even true of Jesus – or rather, the imaginary version of Jesus (Jonathan Bennett) Potato concocts as he struggles to come of age, whose serene aloofness is somehow made completely relatable by the good-natured gay insouciance with which he is played.

Likable characters are a big part of the movie’s charm, but the infectious sensibility that wins our hearts comes straight from the filmmaker himself. In telling the story of his own life – albeit a highly stylized version of it – he gives full rein to the love for cinema, and specifically American cinema, which fueled his own young dreams of America and ultimately led him to a career behind the camera that includes two seasons of the critically acclaimed comedy series “Capitol Hill” (starring Jinkx Monsoon, Ben DeLaCreme, Waxie Moon and Robbie Turner). 

His movie is full of cinematic flourish, indulging in bold strokes to help its narrative unfold. Most striking of these is the choice, midway through the film, to swap out both the leading players for different actors – Potato and Lena in Russia are played, respectively, by Hersh Powers and Sera Barbieri, and in America by Tyler Bocock and Marya Sea Kaminski. From a practical perspective, of course, the abrupt change aids in depicting Potato’s transition into gay life in America simply by introducing a significantly older actor who can appropriately appear in the scenes when things inevitably start to get sexy; but on a deeper level, this calculated recasting invites contemplation on the relationship between our environment and our identity, highlighting the filmmaker’s seeming assertion that changing the world you live in requires you to become a different person – or perhaps, in light of the film’s opening quote (“I’ve always been America in my heart,” from queer trailblazer Quentin Crisp), that becoming the person you are meant to be requires finding a world where it is possible to do so, even if you have to build it yourself.

Still, even if Hurley’s ambitious conceits bring a kind of aspirational magic realism to his film, they never become pretentious, nor do they derail for an instant the movie’s sense of fun. In this, the filmmaker is greatly aided by his talented cast, peppered with familiar faces like DeLaria, Lauria, and Bennett (all of whom do exceptional character work while giving a sly and ironic nod to their own familiar persona), but dominated by the masterful performances from the four actors playing his two leads. Both Barbieri and Kaminski are exceptional as Lena, making her the unorthodox and empowering heroine she deserves to be; as the two incarnations of Potato, both Powers and Bocock bring powerful charisma to the role – but the younger Powers deserves special kudos for a thoroughly mature and self-aware performance worthy of an actor twice his age or older.

“Potato Dreams of America” made a big splash at last year’s SXSW, as well as at Los Angeles’ Outfest, where it won Hurley the festival’s Grand Jury award for Best Screenplay because of its “unique non-traditional portrayal of a gay immigrant’s transition to America and his relationship to his mother.” It’s this quality that makes it a must-watch experience. As Hurley says in his official director’s statement for the film: “Despite the heavy subject matter, the story of my mom and I coming to America is not only very funny but also very inspiring, with an ending that will have to be seen to be believed. I believe this story of unconditional love, human resilience and the power of hope is what the world needs right now.”

After watching his truth-is-stranger-than-fiction story and thoroughly enjoying it, we can safely assure you that he’s not wrong.

“Potato Dreams of America” opens for a limited theatrical run on Jan. 14. It releases on VOD platforms Feb. 22.

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