Skip to main content

The Case Against 8- dir Ben Cotner, Ryan White at Sundance

The Case Against 8 is an important film because of its subject matter, so it’s as difficult to find fault with it, as it is easy to be caught up in the emotional rollercoaster ride its participants are swept up on.
Just 6 months after California legalized same sex marriage, the ruling was over turned by Proposition 8, a motion brought about by out of state campaigns and advertising, which warned that homosexuality would be taught in schools and that churches would be forced to marry same sex couples. Inflammatory accusations were also raised, namely that same sex marriage would encourage pedophilia and threaten procreation [the main argument being that this is the sole purpose for marriage].
Chad Griffin and the Foundation for Equal Rights decided to challenge this ruling in the federal courts, choosing as their counsels, David Boise and Ted Olson, Democrat and Republican respectively and famous for opposing each other in the Bush vs. Gore presidential election. As plaintiffs the counsel select two gay couples, Kris Perry and Sandy Stier, [who had their marriage annulled, via letter, as a result of prop 8] and Jeffrey Zarillo and Paul Katami, who chose to delay raising children until they could get legally married.
The documentary then acts as a fly on the wall as the fight is taken to the federal courts, part won, taken again and again to appeal by the defense until, many months later, prop 8 is finally declared ‘unconstitutional’ along with DOMA [Defense of Marriage Act], which states that marriage is only between a man and a woman, effectively barring same sex couples from receiving marriage benefits in some states.
As it documents appeals and the see sawing between different courts, the film is a bit long in the tooth and plays out to some seriously sentimental music, which is a little unnecessary. But besides all the highs and lows and the investment the audience will make in the protagonists, there are some intellectual issues that steal the show. Little bits of wisdom fly out from Boise and Olson [‘in the end, over the Bush vs. Gore thing, we became friends because we shared the same passion, despite being on opposing sides’ [paraphrased]] Olson makes some terrific and rousing speeches and it’s his relationship with Boise which provides structure to the film. There’s also a nice moment when a witness for the defense is led gently by David Boise to become an advocate for their own counsel, and admits quite readily, he has changed his mind on same sex marriage. There’s also some serious talk on marriage and its purpose, which some may find engaging.
But as I was watching the end credits I had a few questions for the documentary filmmakers. What happened to hearing from the other side? Surely needed, for a balanced objective documentary. And I couldn’t help wondering, what about those same sex couples that are not middle class and can’t quite give voice to themselves in the same way the very safe plaintiffs could? I was already feeling that there was some exclusivity going on.
Despite these misgivings though, and the filmmakers intention to wring every last drop out of this subject matter, the film is highly enlightening, lucid and empowering. Not least because it sets the bar for all minorities who are rejected by any society that does not and will not accept them. And not least because, as Kris Perry suddenly realized on the witness stand, that ‘putting up’ and getting through  [daily judgment and discrimination] was not good enough for her anymore. If other people’s bars in life were fulfillment or happiness, then why couldn’t hers? Why should she, like so many others, be prevented from something more than just ‘coping’ because of her sexual orientation?


Popular posts from this blog

Walking the Tightrope- Theatre Delicatessen

Site-specific set? Perhaps. In the old Guardian offices in Farringdon, Offstage Theatre and Theatre Uncut curate a cycle of 12 short plays exploring the tension[s] between art and politics, reactions to the budget cuts to the arts in the UK and debate freedom of expression controversies. Corruption, class divides, perception, blood money, gesture politics and culpability, it’s all there and recent topical events are given stage time, from The Tricycle’s controversial decision to withdraw their support for the UK Jewish Film Festival to the Barbican’s cancelled Exhibit B. The plays are entertaining- Sun City by April De Angelis, Re: Exhibit by Gbolahan Obisesan, Old Newland by Julie Pascal, Tickets are on Sale Now by Caryl Churchill and Exhibit A, by Neil LaBute, all deserve special mention for looking beyond the parameters of funding and freedom of expression in the UK arts- by which of course, I mean a theatrical London still surfing the very last trickling waves of Colonialism and it…

A Man of Good Hope: review

“The ability to have someone tell your story is so important. It says you know I was here.” Maya Angelou It’s a piece of musical theatre about having hope. It’s an urgent work which speaks of age old global phenomenons such as migration and life as a persecuted refugee. The term refugee has been part of the western world’s history since the persecution of protestants in France in 1540, the term migrant is biblical. The book upon which the show is based, an account of the life of Somali Asad Abdullahi who witnessed the murder of his mother when he was eight years old in Mogadishu during the civil war and who then fled across Africa as a boy and young man as a consequence, is in some ways so traumatic a read that the stage work has to offer more positivity than the title infers. 
In the Isango Ensemble and director Mark Dornford-May, with a little help from Stephen Daldry, the book, by Jonny Steinberg, has found the perfect stage partners. One feels that no other company could do this wor…

Safe House- art meets theatre at the Young Vic with Jeremy Herbert and Gabriella Sonabend

It starts with a journey down a narrow corridor, fist clenching wooden key.
‘Follow the yellow line’ the polite Usher says and I do, around the corner and into a foyer area, where I am met with a gust of wind from a machine that Jeremy Herbert, the designer, has created himself. As my hair blows and my cheeks and eyes are battered as if I am standing on top of a mountain, I am tempted to remain here, to continue to feel the gusts in my face and listen to the sound the wind makes. I don’t want anything else and I can’t hear anything else, only aware of a need to immerse myself in it, to let myself go in the rapid flashing lights that emanate from its surface. I’m one who craves aloneness and enjoys it all too well, but I am afraid that someone will come and disturb this brief relationship myself and the wind machine have struck up, or that my mind will interfere, the buzz of thoughts getting the better of me.. so I move on around the room, after all, there are four more ‘safes’, all a s…