Hollywood is always a sinister setting, even for a comedy and "The Dying Gaul" is no exception. I don't intend to divulge the ins and outs of the story because that should be your job, but I feel compelled to talk about it because it kind of stacked all over me like some kind of alien jelly. I always loved Campbell Scott and I suspect I always will. He plays the devil - The "I'll give you a million bucks if you abandon completely yourself, your principles, your loyalties" - kind of devil - He is married to the splendid Patricia Clarkson ( part Meryl Streep part Wayland Flower's Madame) and the object of his temptation is Peter Sarsgaard, one of the best creepiest actors ever to appear on film. It may be a personal thing but he gives me the willies. The film is an uncomfortable journey through a strangely familiar landscape that becomes darker and darker. I will take my chances and recommend it.
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wlawson6010 July 2006
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felixoscar4 December 2005I would be hard pressed to name a trio of actors that I could be more excited to see than the stars of his film. Been rooting for Clarkson for years; we all know Sarsgaard is Oscar material in the years to come; Scott is (to me) even better than his dad. So I was waiting for this, via Craig Lucas, for a long time.
My cousin had warned me (we are both gay) that the play delivered a memorable first half (in a positive way) and just as memorable second half (in how bad it was). Clearly the screenplay did nothing to change this, alas.
The three leads were, no surprise, just excellent, and seeing them was well worth the time and cost. Oh PeterS, get back to work we need more of you! But dear Mr Lucas, when characters behave in ways that show no logic, it feels like a cheat.
Fascinating idea, beautiful setting, some splendid dialogue and then disaster sets. I say "6" and wish everyone involved great success in the years to come. -
noralee11 November 2005"The Dying Gaul" feels like an updated "Who's Afraid of Virginia Woolf?" set in Hollywood instead of academia. But it gradually veers towards "Fatal Attraction" as the opening jabs at commercial film-making, with lots of name and title dropping that seem to be writer Craig Lucas's revenge on compromises he made for his successful "Prelude to a Kiss," give way to catastrophic psychological manipulation.
The initial Hollywood commentary is emphasized through the settings, as the movie producer, Campbell Scott, and his ex-writer/liberal activist/household and children manager wife, Patricia Clarkson, live in an extraordinary house with a rippling pool and ocean view. Their financial success is wielded like a weapon as the camera restlessly swoops around all their possessions, household help and scenic property. The emotional price he's paid for this is clear as Scott's "Jeffrey" could be in "Glengarry Glen Ross" (to drop film titles like he does) as he'll clearly do anything to seal a deal.
Peter Sarsgaard drives on to the studio lot and into their lives with a completely different character from his four other released films this year, with inflections and body language that only occasionally get a bit too flamboyant as affectations of an out gay writer discussing issues of sexuality in the movies and his late lover. His grief and need for human warmth is so palpable that it is even believable that after failing with psychological counseling and Buddhism to deal with it, he clutches at what used to be called spiritualism, here delivered through the internet, shown visually both in the written word and the actors talking to the camera like reading aloud from their computer screens, edited effectively in the best key scenes with real life.
Clarkson is wonderful as she morphs from busy housewife lounging in a fetching bikini, to curious dabbler in the dark side, to woman scorned and revengeful manipulator. She may be the Ultimate Scary Mother, sexy, maternal and controlling, who while distraught over violent video games goes after the psyche. Unusually for how such a triangle has been portrayed in films (and the film is specifically set in 1995 as perhaps a more innocent time), we also get brief, sympathetic insight on another woman similarly affected by the writer's selfish actions that puts Clarkson's "Elaine" in perspective as she could have been portrayed as more of a brittle harpy. But each character alternately attracts and repels us.
In his directing debut Lucas does not well serve his own script, adapted from his play, as it could have been a lot tauter in exploring the slippery slope of ethics in human relationships, that all it takes is that one small step to deceive or keep secrets before one falls into the well. There could have been a lot fewer arty scenes in silhouette, at sunset, across water.
The Steve Reich music throughout becomes more irritating than tension-inducing.
While the title has something to do with the writer's long monologue about the significance of the Roman sculpture as an artist's way to make victims sympathetic, one is left here more with the feeling that these three folks deserve each other, though the collateral damage left in their wake is a tragedy. -
EUyeshima12 December 2005A trio of superb performances ignites writer-director Craig Lucas's 2005 bludgeoning psychological thriller set in the deal-making, Machiavellian world of Hollywood film-making circa 1995. The plot focuses on an unconventional triangle - Robert is a young screenwriter who gets summoned to a meeting with Jeffrey, a powerful studio executive, who is very interested in adapting Robert's script into a movie. There's one catch - the script is a tribute to Robert's partner, who died recently of AIDS after going through painful medical treatments, and Jeffrey wants to change the story to a heterosexual love story to assure the movie has wider commercial appeal. With an offer of a million dollars upfront for the script, Robert begrudgingly accepts the change, but then he meets Jeffrey's wife, Elaine, who becomes drawn to Robert through his deeply felt script. Her attraction is platonic but increasingly obsessive. At the same time, Robert and Jeffrey become lovers, and the plot dives headlong into intriguing twists relating to Internet chat rooms and layering deceptions that lead to a fatalistic conclusion.
Once again proving to be one of our most audacious actors, Peter Sarsgaard brings a fearlessly fey quality to Robert that allows his character to harden as the encroaching deceptions envelop him. Looking very much the part of the patrician, artistically frustrated Hollywood wife, Patricia Clarkson gives her typically sharp, insightful performance as Elaine especially as her efforts to manipulate Robert backfire into her own unfolding, painful situation. What she does very well is show the vulnerability of her character regardless of her misogynistic intentions. With his stentorian voice used in an ideal context, Campbell Scott finally shows some of the fire of his late parents (George C. Scott and Colleen Dewhurst) in exposing the deviously powerful character of Jeffrey ultimately rendered powerless by the circumstances.
Although the movie takes advantage of Los Angeles locations, including a stunning hilltop home (complete with infinity pool, of course), it still feels very much like a play especially in Lucas's use of talking head-shots and voice-overs to amplify the ennui of the chat room activity. Where the film goes somewhat awry is the series of developments in the last half-hour that lead to the ending where Robert's sense of paranoia brings certain facts to light and responses become increasingly contrived. Regardless, Lucas's gift for smart dialog and the three performances lend credence to the wildly implausible developments. With the hoopla over the wondrous "Brokeback Mountain" (which I just saw), it will be interesting to see if Jeffrey's mercenary comments about the box-office poison of gay-themed films will remain true. -
Spuzzlightyear30 November 2005Ya gotta love Inside Hollywood movies, from Swimming With Sharks, The Player, and Mistress, Hollywood loves making films about itself, both small scale (Sharks, Mistress) and large (The Player). The Dying Gaul is a very curious hybrid of two different genres of movies.. Gay love stories and the psychological thriller. Robert is a budding writer who sells his prized script, The Dying Gaul, to a hotshot producer. He and his wife soon invite Robert to the land of Hollywood parties. The wife, who is fascinated by Robert, and acting on a tip from him, decides to spy on him. After gaining his trust, the plot then REALLY thickens with the fact the producer and Robert are having an affair, and even worse, planning to off her! All of three leads in this, Peter Sarsgaard, Patricia Clarkson and Campbell Scott, all look like they're have a grand old time in this tale of deceit, betrayal, and of course sex. Patricia Clarkson is always amazing as usual, and it's always a grand treat to see Campbell Scott, as he doesn't seem to be as visible on screen anymore. The lead is played by Peter Sarsgaard, and he's just fun. So all in all, quite a great little movie here.
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dglink12 December 2005Despite the earnest work of three talented actors, "The Dying Gaul" is a slow and ponderous film that betrays its stage origins. Unfortunately, the film opens with a scene that seems improbable, if not downright impossible, as a film producer attempts to purchase an original screenplay from a first-time writer who plays coy over principles, despite a million-dollar carrot. Before long, the producer seduces the writer, and the two men carry on an illicit affair behind the back of the producer's wife. However, the wife is intrigued after meeting the writer, and she begins to correspond with him in on-line chat rooms under the guise of a gay man. The sham that the wife uses to uncover the affair and psychologically harass the young writer would not fool anyone, let alone an educated writer, and the film falls apart from lack of credibility. Although Hitchcock may have been able to make lengthy scenes of two characters instant-messaging each other over a computer into classic cinema, director Craig Lucas has yet to hone those skills, and the instant-messaging exchanges are leaden to be polite. Fortunately, my watch has a dial that illuminates in the dark. The direction of the film in general is slowly paced, and there is little visual excitement or breaking through the boundaries of the stage-bound dialog.
Fortunately, the always-wonderful Patricia Clarkson plays the wife, and she does wonders with a part that is not intrinsically interesting. While Peter Sarsgaard generally falls into the "always-wonderful" category as well, his subtly mincing shtick as the gay writer seems as though it were lifted from the worst episodes of "Will and Grace." Sarsgaard played a gay (or bisexual) man far more convincingly in "Kinsey." While there certainly are effeminate and fey gay men, those stereotypes have already been played to death on screen, and a fresher concept would have been expected of an actor with the talents of Sarsgaard. Campbell Scott plays his part well, although, when a viewer's mind wanders to thoughts of how well Scott is aging, the actor is apparently not fully engaging the audience's attention.
"The Dying Gaul," while not a complete failure, is nonetheless a disappointment and little more than an acting exercise for three talented performers. The wordiness and leisurely pacing may have worked on stage, and the flimsy plot devices may also have played more credibly in the theater. However, on film, "The Dying Gaul" fails to engage or convince and ultimately falls flat. -
Juliette20052 November 2005I enjoyed this film, up to a point- and that point was almost exactly the half way mark, where the writer director chose to go the maudlin implausible route instead of sticking with what he had, which was wonderful.
To have three characters in conflict and resolve it without any fancy plot device would have been truly courageous, but sadly what started out so lovely descended into melodrama and tedium.
That being said, Craig Lucas is clearly a talent to watch, he did a marvelous job with the actors- particularly Peter Skaarsgard, who does wonderful work, and the script is smart and even touching in places.
Campbell Scott seemed miscast to me, wooden and distant at places but oddly brazen in others. I can't imagine a married studio executive actually touching and almost kissing a writer ON THE LOT. I found myself imagining what other actors would have done with the role, never a good sign. But then again, he was one of the producers, so Mr. Lucas had his hands tied.
All in all, the first act was so promising that I was angered by the way Lucas decided to end it. -
iago-617 March 2006From Craig Lucas, who brought us Longtime Companion and Prelude to a Kiss, comes this movie, which is much darker in tone and much more challenging as a film than either of those. Peter Sargaard stars as a gay screenwriter who has just sold his script, called The Dying Gaul. It tells the story of his lover's death from AIDS, and is based around a metaphor related to the famous Roman sculpture of the title. The thing about the sculpture is that it sensitively depicts a dying soldier of the enemy's army, and so is normally taken to represent the ability to have empathy for one's enemy. Keep this in mind kids, it wasn't chosen by accident.
So Jeffery, the producer who buys the script, played by Campbell Scott, makes a condition of the sale that Robert change the dying character to a woman, as "everyone hates gays," and "people don't come to movies to feel bad or to learn, you have to lure them in and then deliver a lesson." These, also, are notes to keep in mind. At first Robert refuses, but he is offered a million dollars, and he needs that money. He intends to use part of it for the education of his son, who he had when married to a woman. We later find out that his lover who died was the brother of his former wife, which carefully hints at Robert's shifty morals. And, like many people with malleable morals, Robert professes to be a Buddhist.
Soon we are introduced to Jeffery's wife Elaine, played by Patricia Clarkson. She is shown, several times, in a white bikini (who knew she had such a slender, lithe body?). You will note that she is the only one who's body is exposed and sexually available, yet it soon becomes clear that no one, least of all her husband, is interested. This leads to the kind of sad isolation and bitter resentment you might expect.
Soon Robert is introduced to Elaine, when they go a screening of one of Jeffery's movies. Elaine positions herself as a confidant to Robert, one who understands how he feels and stands for his principles (she was formerly a screenwriter herself). She elicits from him that one of the ways he dulls the pain of being bereft by his lover's death is by perusing chatrooms, and she gets the name of his favorite one.
...Spoilers from here on out! Meanwhile, Jeffery is coming on hard to Robert, and we find out later that Robert has given in. Later the night of the screening, Elaine invents a name and finds Robert in the chatroom. She asks if he's seeing anyone, and it's revealed to her that he is--her husband! Clarkson's performance in this scene, and really all throughout the movie, is superb.
Driven by a complex web of emotions that are at once well-drawn and yet never spelled out, Elaine invents a new screen name, "ArckAngel," and writes Robert, claiming to be his dead lover. This sends Robert into an emotional spin of renewed grief and guilt, both at changing his screenplay and having the affair with Jeffery. Elaine continues as Robert's friend and confidant, and the whole mess starts getting more taut, more sordid, and more ugly. The ending came as a surprise to me, but one that will leave you with a lot to think about and piece back together.
So let's get back to the theme of empathy for one's enemy. Elaine definitely gets to understand Robert's pain, though she is resistant to feeling it because of her own situation. Robert comes to gain a clear understanding of Elaine's heartache, though again he has his own reasons for not letting himself be moved by it. At the end I believe we are supposed to gain an understanding of Jeffery's situation, but I'm not quite sure it works. The final image of the movie is Jeffery mimicking the posture of The Dying Gaul. It's good and it works in a structural way, but I'm still unsure whether it works emotionally. My friend and I had a long discussion over dinner about whether it was an accomplishment or a failure of the film that neither of us were moved by the character's predicaments. I felt for each of the character's, yet they are all so morally flawed that it is difficult to truly feel empathy for them, which keeps the movie on an emotionally distant, cerebral level. Again, is this purposeful? Neither me nor my friend could tell for sure.
The structure and metaphorical significance of the story will give you a lot to think about after the film is over. It's unusual for a film to be so well-thought out and interesting on so many levels these days, and it seems to be one of the best entries in the field of gay films, which finally seems to be heading away from coming-out stories and tales of pretty twits into more serious fare. I'm not sure it all works in the end, but the depth of the characters, the interesting and well-thought-out writing and structure, and the excellent performances all make this definitely one worth watching.
--- Check out other reviews on my website of bad and cheesy movies, Cinema de Merde, cinemademerde.com -
JohnDeSando8 November 2005"Woe to him who seeks to please rather than to appall." Herman Melville quoted at the beginning of The Dying Gaul
If Robert Altman's The Player defined greedy, amoral Hollywood of the early nineties, Craig Lucas's The Dying Gaul serves the stew of Hollywood deceit and duplicity in the early 21st century. Peter Sarsgaard's Robert is a writer wooed by Campbell Scot's powerful producer, Jeffrey. The courtship involves Robert's script about homosexual entanglements and Jeffrey's own designs on the gay Robert, who has recently lost his lover.
Only in Hollywood could a bisexual producer making moves on a writer demand that the writer change the lovers to heterosexual even when he is pushing his own homosexual agenda, saying "Americans hate gays." But this conflict is emblematic of the Janus-like nature of Hollywood negotiation and the ambivalent roles each player must act out. This Gaul has many more than three parts to be divided.
Enter Patricia Clarkson's Elaine, Jeffrey's attractive writer wife and potential close friend to Robert. Elaine has clearly understood Lady Macbeth's power to manipulate seemingly strong men; she adds the Internet chat room as a tool to jerk Robert into frenzy and change the course of her husband's invulnerable career. If you remember the chat scene in Mike Nichols' Closer where Clive Owen and Jude Law conduct a modern combat about sex, then you have an idea of how powerful the tool is in creating fiction online and shaping the protagonists' lives in The Dying Gaul.
This film is a cautionary tale about power mixed with sex and longing. The ending is so convoluted and unrealistic that it compromises the Closer-like excellence it should have had. But maybe that ending is another fiction married to another fiction, a natural place for all those jousting in the dream factory.
My daughter is a young writer; my son is a talent agency president; my life is a constant prayer that they survive the illusions. The Dying Gaul is sometimes good enough to die for. -
bababear18 January 2009Until it jumps the tracks near the end, THE DYING GAUL is an interesting and literate film about relationships and suffering. But when it goes to the bad it does so in a big way.
Robert is a screenwriter who has written a script called THE DYING GAUL which derives from his own experiences. It's about a gay couple who sees the sculpture The Dying Gaul and how the pain of loss translates across the centuries. Robert has lost his life partner and is still suffering the loss.
Jeffrey and Elaine are a very successful couple. He's a Hollywood producer and they live in a mansion which in and of itself makes the film impressive. Jeffery likes Robert's screenplay and offers him a million dollars for it, but with one catch. The film would be big budget and high profile, and to justify that the couple needs to be a man and a woman.
To complicate matters, Jeffrey comes on to Robert. Big time.
The material at any point could have veered into farce. Instead, writer/director Craig Lucas tries and- for a long time succeeds- in trying to plumb the depth of the characters' souls.
Elaine begins to communicate with Robert through an online chat room. She pretends to be a man and, later, a man that Robert has known in the past. And this is where the story starts to unravel.
Elaine begins to assume the personality of Robert's late lover and soon convinces him that he's communicating with a ghost, veering awkwardly close to making the story an updated BLYTHE SPIRIT.
Eventually Jeffrey casually mentions to Robert how in Woody Allen's CRIMES AND MISDEMEANORS a major character seeks to shed himself of an unwanted wife by homicidal means, and soon the project is off the tracks.
And in the final scene Lucas has a major character do something so out of character, so irrational, so atypical.... How bad a miscalculation is this plot twist? So bad that Lucas can't bring himself to stage it. Instead, it takes place offstage and is revealed in a phone conversation.
Flaws and all, this is still a mature and well thought out film. It's masterfully visualized and is a great vehicle for three talented performers. I'm convinced that fifty years from now film historians will be looking back and wondering why Campbell Scott wasn't a megastar from his first role on. As always his performance is rock solid.
It's good to see a well produced film that's made for grownups and isn't a special effects nightmare. Check out THE DYING GAUL. -
jiffyxpop22 May 2005I just saw this at the Seattle Film Festival, Peter Saarsgard was there to answer questions. The movie is extremely watchable for the first half of the way through, is built on a fascinating premise with interesting characters (a bisexual movie producer and his wife who reside in a Lifestyles of the Rich And Famous type beachside modern mansion, a young gay writer whose lover has died of AIDS), and builds to a pitch of extreme suspense. After that, however, the plot stumbles and the film's conclusion turns on a series of unbelievable events. I thought since the movie was based on a play, the plot would be clear, but it's almost as if the movie version was forced to cut out some important sequences, as there is never quite enough information about 1) how the woman obtains all her inside information on the writer, 2) how the writer's ex-wife was related to the characters and 3) most importantly, what happens to the characters at the end of the movie.
I went into the bathroom after the movie and joined a lineup of women who were also asking each, "What exactly happened there?" --- when it's not clear it's a sign of unclear movie-making. -
THE DYING GAUL, written and directed by Craig Lucas (writing credits include 'Longtime Companion', 'Prelude to a Kiss', 'Reckless') is a brilliant little film that stirred comment and appreciation during its unfortunately very brief run in the theaters (as one of the film's characters comments "Most Americans hate gay people. If they hear it's about gay people, they won't go.") And this in a year when films such as 'Brokeback Mountain', 'Transamerica', and 'Capote' drew focus. As the oft-used phrase states, 'Go figure'.
The story is a bizarre triangle of interaction among three very bright, enlightened, yet passionately isolated people whose coming together is the stuff of tragedy on the grand scale. Robert Sandrich (Peter Sarsgaard) is a grieving screenwriter (his lover recently died from complications of AIDS in a manner secretly gnawing at Robert). His most recent screenplay 'The Dying Gaul' about a gay couple - one with AIDS - is a tribute to his lover, and while it is a brilliant script and is taken on by a top film producer Jeffrey Tishop (Campbell Scott), Jeffrey offers to buy the script for a million dollars IF Robert re-writes the script to make the couple a heterosexual one (see above for his reason). Robert at first refuses to 'sell out' but eventually gives in and does the re-write. Jeffrey is married to a very bright ex-screenwriter Elaine (Patricia Clarkson) who reads Robert's script, loves the original and becomes so obsessed with the script and with Robert that she plunges into an investigation of Robert's life. Compounding the intrigue is the fact that Jeffrey begins to fall in love with Robert and Robert is so needy emotionally that he responds: the two become lovers. Elaine enters Robert's private life via chat room discussion where she poses as the voice of Robert's dead lover and inadvertently discovers secrets that eventually bring the trio to a devastating climax: secrets are revealed that demand accountability and each character is permanently altered.
Craig Lucas, in this his first directorial outing, proves to be an artist with style, with vision, and with guts to put tough material into visual form. The pacing is tense, the ideas are well developed from the meaning of the title to the cruelty of the machine mode means of conversation via email chat rooms. He handles sexuality variations as well as any director today. He of course is blessed with a trio of superlative actors: Sarsgaard, Clarkson and Campbell give extraordinary performances. The cinematography by Bobby Bukowski revels in the brilliance of the California sun at poolside as well as the eerie light from the computer screen in darkened rooms - further underlining the alienation that medium demands. And the crowning addition is a musical score by gifted composer Steve Reich (one of the finest of today's classical composers). THE DYING GAUL is a tough film but one that is so refreshingly dedicated to its vision that it scores as a major work. Highly Recommended. Grady Harp -
leilapostgrad27 November 2005Besides some of the plot holes that I still can't figure out, I was rather captivated by The Dying Gaul. For the love of God, someone give Peter Sarsgaard an Oscar already if not for this movie, then just for everything he's ever done. Sarsgaard effortlessly steals every scene he's in! In The Dying Gaul he plays Robert, a gay screenwriter who is still mourning the death of his lover, Malcolm. He still sleeps with Malcolm's pajamas and puts them back into a Ziploc baggie at the end of each night. Robert writes a script based on Malcolm's slow and painful death and calls it The Dying Gaul.
Jeffrey (Campbell Scott) is a big time Hollywood producer who wants to make Robert's film on the condition that Robert writes out all of the homosexual content. Jeffrey tells him, "Most Americans hate gay people, wouldn't you agree?" The irony is that Jeffrey is attracted to Robert and starts an affair with him, behind his wife's back. It gets more bizarre when Jeffrey's wife, Elaine (Patricia Clarkson), becomes obsessed with Robert. When she learns that her husband is sleeping with Robert, all hell breaks loose literally. The depth that these characters go to in order to punish and torture each other is evil incarnate! The Dying Gaul is hard to follow at times, but it's brilliant, painful, shocking, and Sarsgaard deserves a damn Oscar already! -
catchersmitt010 November 2005The acting is to die for; the cliff house is to die for; Peter Sarsgaard is to die for. In other words, the movie's not ALL bad; it just falls apart really quick - and unfortunately in just those key plot moments, so you walk out of the theater ready to slice it like a Ginsu, then talk about something else.
Like, did they really have to beat us over the head about the POISON PLANT that JUST HAPPENS to grow in the back yard. Didn't see that coming. Or about emailing with a dead person? Huh? Or how Peter conveniently FORGETS he told that woman his favorite online chat site. Oops. Or when one of the characters admits to being bisexual... HELLO, YA THINK??
Go. See it. Really. I MEAN it - if you want to get out of the house and/or satisfy your curiosity. But at the same time, prepare to cringe when Sarsgaard screams like a little girl during his orgasm. Actually, any little girl would sound like a grizzled old lumberjack next to Sarsgaard's orgasmic tittering. -
whpratt17 December 2008The story in this film was simply different and I am sure reached many tender hearts who could share in the feelings of a triangle love which is beyond words. Jeffrey Tishop, (Campbell Scott) is a very powerful successful movie film executive who is married to Elaine Tishop, (Patricia Clarkson) and they have lovely children. There is a young writer who has written a screen play called "The Dying Gaul" and Jeffrey wants to buy the script so he can change the characters in the story. The young man needs the money so he accepts the one million dollars and becomes good friends with Elaine & Jeffrey. From this point on in the picture all the characters in the story become very much deeply involved with each other, almost in a spiritual way. This is a very warm and well produced picture.
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How to describe "The Dying Gaul." That is a challenge. It is very much like a play (which makes sense, seeing as it was adapted from one), and it makes one of the most skillful transitions from stage-to-screen that I have ever seen. It works like a play, but visually it thinks of itself as a movie. Confusing I know, but a person who has seen the movie will know what I'm talking about.
In terms of what genre "The Dying Gaul" fits into, it's more of a drama/mystery. It has a slight noirish tone to it, but this is not "The Big Sleep." The beginning is a drama, but its transition to mystery is perfectly executed with such a subtle build-up that looking back, it's hard to believe that the beginning was from the same movie as the end of it, or that it all was accomplished in 101 minutes.
Robert (Peter Saarsgard) has written a brilliant script after the death of his lover, Malcolm (Bill Camp). Movie producer Jeffrey Tishop (Campbell Scott) loves it, and wants to make it into a movie, but he insists that Robert change the relationship from homosexual to heterosexual. Jeffery's wife, Elaine (Patricia Clarkson) becomes interested in Robert, and then a few secrets are spilled which changes everything.
"The Dying Gaul" is really about the three characters. Everyone else has only a few token lines of dialogue at best that simply flesh out the story. The three actors-Saarsgard, Scott, and Clarkson, develop their roles well, and the three of them are fully three-dimensional. Ironically, while Saarsgard may have the most interesting character on paper, he's actually rather flat compared to Clarkson and Scott. Clarkson plays the housewife who still has a job even though she could easily live off of her husband's wealth, and she's not as clueless as many other movie housewives are.
Campbell Scott, though, is the real joy of "The Dying Gaul." At first he's a money-obsessed movie producer (the kind that seem to fill Hollywood these days), but as the movie goes on, he fleshes out his character and becomes a pretty sympathetic man. Scott dominates this movie, and it shows how truly gifted he really is.
As good as this film is, it isn't perfect. The music, particularly at the beginning is too loud and threatens to drown out everything else. The film also leaves a few questions open-ended even though doing so serves no purpose.
Still, "The Dying Gaul" manages to throw in a few unexpected twists and surprises, and it is very watchable and highly recommendable. -
claudio_carvalho18 May 2014The gay screenwriter Robert (Peter Sarsgaard), who is grieving the recent loss of his lover, writes a screenplay based on his biography and tries to sell it to the Hollywood producer Jeffrey (Campbell Scott). He offers one million dollars for his work, provided changes in the story replacing the dying man per a woman to make a commercial film. Jeffrey shows the screenplay to his wife Elaine (Patricia Clarkson), who loves to write and to plant flowers, and she is also delighted with the story.
Robert works introducing the required modifications and Jeffrey, who is bisexual, has an affair with him. Meanwhile Elaine finds the gay website where Robert writes and she creates a fake profile to have conversation with him pretending that she is his deceased lover. Soon she learns the affair of her husband and she decides to leave him. But when the gay Robert discovers the truth, he has a breakdown and takes vengeance for Elaine with tragic consequences.
"The Dying Gaul" is a boring movie with an unrealistic story. The idea of Elaine pretending to be the spirit of the dead gay and luring Robert in a gay chat room is ridiculous. The use of the deadly flower to poison Elaine would be easily found by the autopsy despite his explanation about the impossibility of finding the traceability of the poison. My vote is four.
Title (Brazil): "Triângulo Obsceno" ("Obscene Triangle") -
gregg_klein21 November 2005I thoroughly enjoyed this film. Mr. Lucas directed a very cinematic version of his stage play, and assembled an outstanding cast. Peter Sarsgaard, Campbell Scott and particularly Patricia Clarkson, give layered, complex, award-worthy performances.
This film reminds me of another along the same genre, American Beauty, which also examined difficult and complex relationships, and attempted to do so with both humor and pathos.
Because this film is part thriller, part black comedy, part searing emotional drama, it had me going on many levels.
Again, Patricia Clarkson should be praised highly for her ability to make the reactions of her character so real! I have not always been a Craig Lucas fan, as I sometimes find his work to be a bit preachy (Prelude to a Kiss), but with this film, and his obvious director's eye, I look forward to his next effort. -
Craig Lucas' film is a piece of pretentious Hollywood crap, with the only saving grace that of the wonderful Patricia Clarkson who plays the "wounded" Hollywood wife in the film and delivers a very poignant and empathetic performance.
From the first scenes between Peter Sarsgaard, Robert, and the handsome Cambell Scott, Jefferey, this film doesn't ring true to me as a writer in Los Angeles, as he heads to meet a Studio executive in such a nonchalant and unprofessional manner to discuss the purchase of his script THE DYING GAUL. That whole office scene is just too silly for words-even Robert's...Any writer would die to be in his position, let alone to be so uncaring about his script being sold to a major studio.
The usual glamorous Malibu settings, sun setting over the blue Pacific, that limo ride where everyone is sipping champagne to the good life in Hollywood once you make it, just seemed such a boring cliché. And the scenes where Jefferey keeps saying to Robert, "you're so beautiful", are beyond trite dialog.
Yes, we all have lost someone we love to death, but the way these characters discuss, chat online and deceive one another is not bringing any empathy to their stories, nor for their audience. And the last scene is not a tear jerker, just a reflection of what deception and lies can create for your downfall.
My recommendation, you want a shot of dark Hollywood, stick to the intriguing MULHOLLAND DRIVE for viewing, not THE DYING GAUL. -
First off, the less you know about this movie before seeing it, the better. Go in clean. And just let it such you in. Here are a few things you CAN know. (a) The screenwriter/director, Craig Lucas, is gay but wrote his best known play, PRELUDE TO A KISS, about a straight relationship that has overtones of homosexuality. (b) Patricia Clarkson may be the finest actress of her age. She flits around the first 20 minutes of this movie in a bra and panties, toyingly svelt but with a panther-like quality you only realize later. (c) This is a movie without a protagonist or an antagonist -- or more accurate, a movie in which each of the main characters take turns at being the antagonist and protagonist. (d) Despite the gay aspects, this is really a movie about betrayal, and it is fiendishly mean (but in a good way). (e) Peter Sarsgaard has never looked handsomer. (f) That's all you need to know. See it.
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airdrieguy19 November 2006...but what a disappointment. The acting was superb. The cinematography was gorgeous. The stimulated sex, particularly the gay stuff, quite hot. However, the characters were totally unbelievable as everything was driven by plot line nothing by the characters. Surely to G-d this was not the first time Campbell Scott's character had stepped out on his wife so she must have known something was going on. He would have been clever enough to ensure she never found out. We are led to believe she is naive to the ways of the world and yet knows to how to find and hire a private detective and gather enough information to 'gaslight' another person so cleverly. This compassionate woman suddenly turns into a total freak? And the up and coming ('scuse the pun) screenwriter is supposed to be a man-of-the-world and yet believes his dead lover speaks to him in a computer chat room? The whole thing about the poisonous plants-gee, can you say "foreshadowing"? We rented the DVD and I left the room to do other things about half an hour before the end because I simply could not waste my time any longer.
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baho-131 January 2005Somehow, this movie managed to hold my interest despite the fact that I never really cared about the characters or what was going to happen to them next. It's not a love story. Not a very good relationship tale. Not a mystery or thriller. Instead, Dying Gaul is a modern day Greek tragedy that uses Hollywood and homosexuality as simply vehicles to generate interest.
This is Craig Lucas' first time in the director's chair. He wrote The Secret Lives of Dentists (previously at Sundance, starring Patricia Clarkson). The movies tackle the same themes---the value and meaning of marriage, the impact of dalliances, the complexities of finding happiness and satisfaction without veering from tradition. But Dying Gaul comes at it with a different orientation, and even outcome.
Patricia Clarkson is always excellent, but here she shows a little evil in her character, which is outside her normal range. Unfortunately, the rest of the cast comes off as wooden, certainly uninspired. Pay attention, because there are liberal doses of philosophy in the form of quotes and counsel. But the real tragedy here is the lack of a meaningful story or compelling characters. -
btyson-129 October 2005How do we honor those we love? What kind of therapy can words provide?
I didn't understand the title of this movie but was eager to see it at the Austin Film Festival because it features such an exceptional cast. Campbell Scott, Peter Sarsgaard, and Patricia Clarkson consistently do interesting work and are appearing together for the first time. "The Dying Gaul" is one of the best movies I've seen in awhile.
In one of the first scenes Robert (Peter Sarsgaard) elaborates on the title of his screenplay, "The Dying Gaul," with studio executive Jeffrey (Campbell Scott.) The screenplay and its meaning to the writer becomes a catalyst for the story that unfolds.
This story of lust, manipulation, betrayal, and revenge is - not surprisingly - set in the Hollywood of 1995. But it's a story that could take place elsewhere, it just wouldn't be as captivating or beautifully photographed - and there are some lovely and interesting scenes and unusual close-ups.
Robert has turned the loss of his partner to AIDS into a screenplay that studio executive Jeffrey will pay top dollar for, with one significant change. Jeffrey's wife Elaine (Patricia Clarkson), also a screenwriter, adores the original script. She is drawn to Robert and wants to know more about the forces that influenced his talent. Her shocking discovery propels the story in unexpected ways.
Don't leave until the credits roll or you won't know who screenwriter and director Craig Lucas dedicates his story to. You may think about it in a different light. Lucas also wrote the screenplays of two other movies I liked very much: "The Secret Lives of Dentists" and "Longtime Companion." He is quite good at exploring the mysteries of the heart and dynamics of relationships. Don't miss this movie. I intend to see it again. -
RNQ22 September 2005"The Dying Gaul" is well photographed, uses a house as location it would be interesting to know more about, and Peter Sarsgaard performs a vigorous imitation of orgasm, but the film fails in plot, characterization, and exposition. It lurches into coups de theatre worthy of Ibsen, except that Ibsen would have better prepared what may crop out in a character. Judging by the conventions of other movies about the Hollywood milieu, such as Altman's "Player," the behavior of characters is implausible, unagressive, indifferent. If Campbell Scott is to play a producer with hidden "sensitivity," the character must still show he can play a tough game, and the same for a writer pitching his script. Exposition by means of typed-out e-mail messages is tedious. Genstures of sympathy are diffused by transcendental generalities. For how to deal with dying, see instead Patrice Chereau's "Son frere."
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Lechuguilla19 March 2008Suppose you had intimate knowledge about someone, and that someone did not know that you knew. How would you use that knowledge? Or would you? This issue is the undercurrent that carries the film's plot, like a fast moving stream, over a cliff, to a swirling, uncontrollable emotional vortex that changes people's lives forever.
Set in modern Los Angeles, a grieving gay screenwriter named Robert (Peter Sarsgaard) meets with Jeffrey (Campbell Scott), a wealthy film producer, to talk about Robert's script "The Dying Gaul", a tribute to his deceased lover and soul mate. Jeffrey invites Robert to his mansion by the ocean to meet his wife Elaine (Patricia Clarkson), who reads Robert's script and loves it. Over time, Robert and Elaine become friends, which sets up a triangular relationship that careens out of control when the anonymity of internet chat rooms provides cover for the discovery of secrets.
Artsy in tone and philosophy, the film exudes New Age dialogue, with conversation about Buddhist Karma, "the middle way", enlightenment, and deadly plant roots. The film's production design is chic. And while the color cinematography is mostly conventional, sometimes it is beautifully stylistic. I really liked those stark human silhouettes against that orange screen. The film's score, which connotes New Age spiritualism, is terrific.
Acting of the three leads is quite good. Patricia Clarkson is great as she sits in front of a computer monitor and, without speaking, displays myriad emotions through her facial expressions alone.
The chat room scenes are creative and emotionally potent, amid magnified keyboard clicking sounds. The back and forth exchange here is unusual, and striking in that it is meaningless when taken out of context, but highly enlightening when considered in relation to the film's plot, as this sample shows: "Hello"; "I hear clicking"; "I'm still here"; "Are you still there?"; "Yes"; "You sound really distracted"; "Yeah today"; "When?" "I'm sorry"; "No, I'm all yours"; "Are mine what?"; "No"; "Yes"; "Meaning?"; "I'm all yours now".
The film's screenplay does contain a rather obvious plot hole. And a couple of scenes involving Robert's son and former wife are too tangential to the story's trajectory. But these are minor issues.
"The Dying Gaul" may seem artistically or philosophically pretentious to some viewers. But I really liked it. Quite aside from the wonderful performances and the chic production values, the film's story has thematic depth, a quality lacking in most mainstream Hollywood films.