The title “Any Day Now” is able to suggest the contention that is present for homosexuals, throughout history and in this film. The setting is Hollywood, 1979. A sex-worker mother is busted, leaving her disabled 14-year-old son to fend for himself in their shabby apartment building. Drag performer, Rudy (Alan Cumming), stumbles upon the situation.
Rudy is voracious and speaks his mind, despite social disapproval of his lifestyle.
His more reserved partner, Paul (Garret Dillahunt) shares chemistry with Rudy while remaining as a strong fatherly character.
It should also be noted that this is the first time a full length movie features an actor with down syndrome, (Marco, played by Isaac Levya) and he is able to provide as much work for the scenes as his more experienced counterparts.
Renderings of custody battles have become a staple in film, but Travis Fine’s film, Any Day Now (2012), sets the bar high in terms of teachable moments through social injustices. While Marco’s mother is incarcerated, Rudy and Paul take in the boy and are able to give him an upbringing that some of us couldn’t even hope for. But their happy family is disrupted and cut short, by the resonance of the issue of gay parenting and LGBT rights, which were virtually non-existent at this point in time.
Although the plot and character development are enough to sustain this film, the film is brought down a notch in terms of visual flair. There is little variation among the scenery and the quality of the HD film is confusing for a retro styled movie.
In the end, it is safe to say that it is not Marco’s custody that is actually on trial, but the homophobia that was prevalent three decades ago.
By Colleen Rowe, originally published on Nocturnal in 2010.
In the spring of 2010, I watched “Everyone Else” at the Independent Film Center in the West Village [NYC].
The film depicts a couple on vacation and their wavering emotional consistency within a week. There were no tragic deaths, plots to deceive an unfaithful lover, or detrimental tidal waves that threatened to destroy a major city and the lives that depend on its existence. This film, simply, illustrates the moments of tender playfulness that make up the simplest definition of “love” and the everyday hardships that occur within relationships that are continuously thrown beneath thin, silk rugs, only to be tripped over when aged wine on the top shelf is empty and the after-sex high has sunk below one’s realm of consciousness
The scenes are simple and subtle and completely real. The most powerful aspect of “Everyone else” is the abundance of everyday conversation that makes up the entirety of the film, which also happens to be one of its most realistic components. Although major visual occurrences do shock and intrigue us, it is the words that are spoken to us that continue to live in the cave of our minds as famished, hopeless savages that disconnect the stems of our brain cells, as we think and think and tear away the remains of our mental health.
I often drift off to sleep with nothing but words in me. They are in my fingertips, my thighs, the space between my nostrils. They shout and repeat and sing me to sleep with sweet melodies and unofficial intentions. These words, nothing but emotions that have been conceptualized and given syllables to hang from. Nothing but words. Nothing but emotion. They sleep with us, watch us make coffee in the morning, and drag us through this thing called “life”. There are some days when I do nothing but think about them.