Review: “All of us Strangers” | Break out the Handkerchiefs for Andrew Haigh’s Lovely, Tremendously Sad Tale
There are certain kinds of films that really impact me emotionally. One genre is what I will call “Saddest Film I Ever Saw”, and weirdly the Brits seem to have almost cornered the market on this one.
If asked, I usually say the very saddest film I have ever seen is “Never Let Me Go”, the heart-rending British Sci Fi classic based on Nobel-prize winner Kazuo Ishiguro’s novel. Oh, and if that didn’t make you cry, with its trio of Oscar winners and nominees — Andrew Garfield, Carey Mulligan and Keira Knightly — trying to love and live before they are forced to sever their limbs (yep), then the Merchant-Ivory production of Ishiguro’s “The Remains of the Day” has to.
Or your tear ducts have straight up dried up.
And, also from the UK, Saorise Ronan in the insanely sad Dystopian Sci Fi film, “How We Live Now”. Oh.my.garsh. There’s a new one: a distinctly British tale of late love, “All of Us Strangers”.
Gay Love and Heartbreak: Who Knew?
I have read a lot of reviews of this film, and, well, it had a nearly perfect IMDB Critics and Users score. I recently had a debate with some other people who are quite knowledgeable about film, about whether IMDB scores even matter. They eschew IMDB and use Letterbox’d — all the cool kids do, apparently (LOL).
Trust me, IMDB scores matter. Nearly every film I have ever seen that has had an IMDB score higher than 6.5 has been Good, and ones with a 6.8–7.1 score (they hardly ever (ever) go higher than that) are usually amazing.
What critics have keyed on is not that this is a beautiful tale of Gay love, of growing up Gay during the AIDS era and having parents who, in the words of The Fresh Prince, “just don’t understand” (or do they?), and then get killed in a car crash. Although all of that is present. Critics have keyed on the fact that “All of Us Strangers” is a timeless story of love and loss. Period. It could be any pair of people: old, young, gay, straight. It doesn’t matter, because Haigh’s and co-writer Taichi Yamada’s script and direction deliver the goods.
The Progress We Have Made
This film probably could not have been made, or been as successful even ten years ago. But today, when despite the forces of Evil arrayed against LGBTQ+ people all over the world, and especially in the US, Haigh presents us with an achingly beautiful love story between two people, who happen to be Gay Men. And it shows us, sans any prurience, gorgeous scenes of Gay Lovemaking that are the farthest thing from pornographic or even lurid.
And he does this by asking more narrative questions than he ever answers. Which I, personally, love.
Andrew Scott plays Adam, a screen-writer (how Meta) living in a nearly empty apartment building somewhere in London, at some point in time (the recent past? the near future?), who by a simple twist of fate ends up in the arms of Harry, played by Paul Mescal. I have loved Scott ever since his turn as a sexually active Anglican Priest in Phoebe Waller-Bridge’s amazing TV series “Fleabag”, and also love Mescal for, among other things, the critically lauded “Aftersun”.
A Queer Ghost Story?
What makes the narrative so fascinating is that, in parallel with this surprising tale of new love, Adam decides to return to his home town and finds his Mother and Father still living in the house in which he grew up, and still the same age they were thirty years ago right before they died in a car crash.
Why and how this impossible thing is happening provides much of the narrative force for “All of Us Strangers”, and Haigh inter-weaves the yearning love of Adam and Harry with Adam’s need to talk to his parents. You see, he needs to know if they knew he was Gay when he was in school (they did) and whether his Mum approves of the fact he likes Men, not Women (She does).
If you are fully willing to “suspend disbelief” (as Poet Coleridge famously said) then you are all in, and the only important thing is to see how Adam’s dialogues with his Mum (played by the excellent Claire Foy) and his Da (played by the under-rated Jamie Bell) will give them, and him some Peace.
It Gets Weird, then it Gets…
And why do they need that? Because, and this not a spoiler, they are all probably Dead. Jamie Ramsay’s gorgeous, yet unintrusive, Cinematography establishes a dream-like visual language in which we simply follow along both the Love Story and the Ghost Story, and really don’t want it to end.
But, alas, the story needs to go somewhere, and in the third reel Adam comes back to the Apartment Building to find Harry dead in Harry’s apartment. Again, not a spoiler, as it is never clear if any of the few characters in the film are actually alive in the first place.
As they lie together on his Bed, the shot of the two of them starts to shrink against a white background, eventually collapsing like a Neutron Star. Queue tears — bawling, really.
Question posed? Yes. Answered? Brilliantly, no.
