同性三分亲

原来已经看过了。

台词风格化，表演出色。好在于所有人物的情绪反应都是perfectly done，非常自然。事件过渡几乎无痕迹。

“怎样才算足够？”

学学这情话！！！高级而不露声色。

当警笛声在你的新家边上响起，请小心，你的挚爱可能已经丧生。这世界的恶意就是如此简单粗暴。

和妈妈吵架那一段虽然有点夸张，但我还是挺欣赏导演跳出原本抒情的固定思维，尝试用喜剧的方式去处理母子/异性同性婚姻之间的矛盾。

这部电影说明了一个道理，Everything I dreamed of is very close to madness, and I just haven’t prepared to live up with that madness.

《同性三分亲》是由保罗·博加特导演，安妮·班克罗夫特、哈维·费斯特恩主演（编剧）的美国电影，改编自同名舞台剧，1988年上映，本片讲述了一个普通同志阿诺德经历的三段悲喜交加的感情，拍得细腻动人。

“三岁看到老”，当别的小男孩在野外疯跑时，阿诺德则躲在衣橱里涂抹口红，偷穿母亲的衣服。长大后，阿诺德在一家夜总会反串女歌手，浓妆艳抹，姿态妖娆。

下班后，他会和同事去附近的同志酒吧，这里到处都是猎艳的目光，生性内向的阿诺德坐在角落里，认识了另一名叫艾德的男子。

阿诺德和艾德确定了恋爱关系，但后者是双性恋，他还与其他女性有来往。在阿诺德生日当夜，艾德正和劳雷尔约会，并表示“我需要自尊，不可能一直混迹于烂泥般的同志生活”。于是，两人分手了。

阿诺德的第二任爱人叫艾伦，是个比他小得多的漂亮男孩，在夜总会起哄被保安恐吓，当场晕了过去，在阿诺德家留宿了一夜。艾伦表示：“我来到纽约，是为了过上同志生活”，这样，两人同居了。

在阿诺德过完与艾伦的三周年纪念日后，父亲去世。第二年，前男友艾德邀请阿诺德和他的新男友艾伦到自家农场做客，四个人之间很微妙，艾伦还和艾德打了一炮，劳雷尔感到夫妻关系岌岌可危。

这只是阿诺德与艾伦生活的小插曲，他们计划领养15岁的大卫，后者是个同性恋男孩。就在他们准备庆祝的夜晚，艾伦看见街上混混欺负老人，见义勇为，结果不幸去世。

怀着对艾伦的深切思念，阿诺德和艾德、大卫三个人住在了同一屋檐下。始终接受不了阿诺德是同志的母亲来探望他，母子俩站在不同的立场吵翻了天，虽然永远理解不了儿子，但因为爱，离开前，母亲还是原谅了阿诺德。

《同性三分亲》胜在亲切真实，它反映了一个普通美国同志生活，和异性恋一样，他想要与爱人长相厮守，想要体验养儿育女的感觉，想要至亲的父母都支持他。

李安《喜宴》里伟同说：“妈，同性恋的人能够在各方面合得来凑合在一起生活，非常不容易。所以我和赛门都很珍惜对方。”一句话道出了在茫茫人海寻觅真爱的艰难。本片开头，阿诺德有一段独白，算是多年生活的悲观经验：“如果一个丑陋的人喜欢一个帅气的人，除了苦难什么都得不到”。

但阿诺德生活态度很认真，起初当艾德脚踏两只船，不愿意承认其身份时，他即使止损；当艾伦闯入他生活，片刻犹豫之后他决定接受；最后艾德再求复合，阿诺德又给了他一次机会。宽容，使他的生命中人来人往。

大多数同志都度过了迷茫且压抑的青春期，这种对爱的迷恋会让他们对生活的触角没有那么敏锐，有的人到中年仍找不到方向，有的人一辈子都摆脱不了内心的混乱：我到底想要什么样的生活？而阿诺德无疑是幸运的，他所追求的是一个完整的家庭，孩子多少能弥补他内心的虚无感，虽然家里吵吵嚷嚷，却也不乏欢乐与温情。

《同性三分亲》以母亲的惊讶开始，以她的离去结束，对母亲的复杂情感是同性恋探讨的永恒主题。影片通过两场母子争吵的重头戏，将亲情与自我的矛盾展现得淋漓尽致，火花四溅，金句迭出。

同性爱情能与普通婚姻相提并论吗？母亲：你胆敢将与艾伦之间的感情与我35年的婚姻相比？阿诺德：你在一家干净的医院失去了丈夫，我在肮脏的街道上失去了爱人，他就是被和你有同样想法的小孩杀死的。

同志生活难道就不算真正的生活吗？妈妈：任何事情发生在你身上就是笑话，你永远不高兴，除非每个人都在谈论同性恋。阿诺德：这些年我一直在证明自己的生活。

瓦解偏见的道路唯有爱。妈妈：你想让我改变想法，但我太老了。你把我推出了你的生活，然后责怪我为什么不在？阿诺德：我不需要别人给我其他东西，除了爱和尊重。

与母亲的和解卸下了阿诺德多年的心理重担，爱人、孩子、父母的支持，是一个普通同志或者普通人毕生的追求。

For its sheer audacity, TV stalwart Paul Bogart’s final theatrical movie TORCH SONG TRILOGY is legitimately a landmark in American queer cinema, an unapologetic gay testimony which forthrightly demands respect and equality, and the one who rightfully hogs the limelight is its writer-cum-star Harvey Fierstein.

Adapting his own Tony-winning, long-running, eponymous semi-biographical play onto the silver screen, Fierstein plays Arnold Beckoff, a NYC drag queen whose stage persona is a torch singer, the film spans from 1971 to 1980, before the gay scene are completely altered by the horror of AIDS. The trilogy can be loosely compartmentalized into three chapters, Arnold’s initial relationship with his bisexual love Ed (Kerwin, adroit with his open-faced legibility); his tragically aborted romance with the love of his life Alan (a baby-face Broderick gaily bats for the other team here) and the aftermath, including adopting a gay teenager as his son, re-settles with Ed and an attainment of mutual understanding with his mother (Bancroft).

Fairly basic stuff, both behaviorally and emotionally, offered by the script, Arnold comes off as shy, lovelorn, grouchy (often in the fourth-wall-breaking mode), but most exceptionally, is Fierstein’s own, short-breathed, gravelly voice that simply cannot carry a normal tune, yet, Arnold is a self-purported torch singer, performs his numbers in a rather comical recitative than actual singing, he is well at home in the burlesque scene. However, to live as an out queer person, he cannot tolerate any murky spot on his life, which encumbers his relationship with Ed, whose bisexuality is often dismissed by Arnold as a front to the heteronormative compliance, and he demands the same from his homophobic mother, on his own terms, he wants to be treated as a normal son, he even goes all the way to adopt a teenager so that he can be a father in a traditional way, and he will not meet her in the halfway.

That stance is progressive, not least at that time, repelling the usual guilt-tinged torment of being homosexual, Arnold is blatantly asking something almost impossible from his mother, whose worldview is completely at odds with her son’s, yet, even so, they manage to squeeze some semblance of understanding that can only be germinated by unalloyed mutual love, that is, for my money, what the film really strikes home, and both Fierstein and Bancroft are firing on all cylinders, their confrontation sequences are textbook takeaways of the internecine standoff between a conservative mother and her flamboyant gay son, however antediluvian the prejudice seems to today’s eyes, the essence is nothing if not limpid, acceptance excludes any form of concession, and Fierstein’s astute and acerbic script takes no prisoners.

An acting powerhouse like Bancroft never disappoints, here, shoehorn in a role characterized by her regressive thinking, she nonetheless exhibits a high-wire act to outpour a deluge of mixed bag of frustration, doubt, displeasure, resignation and compassion, with all those gesticulations, she is so fascinating to watch, and her efforts’ resultant emotional impact is impeccably visceral; Fierstein is equally bellicose and uncompromising in fending off the offensive, but also shines in quieter, funnier moments, like the scene where he performs the Jewish ritual to appear immaculate before Ed wakes up in the morning, a bespoke role that is both a blessing and a curse to any thespian. Enough said, if you are a sucker for a bold gay drama with all its messy but souped-up appurtenances, TORCH SONG TRILOGY is just what you doctor ordered.

referential entries: Jennie Livingston’s PARIS IS BURNING (1990, 8.0/10); John Schlesinger’s SUNDAY BLOODY SUNDAY (1971, 7.9/10).

"There's one thing more -- there's just one more thing you better understand. I've taught myself to sew, cook, fix plumbing, build furniture, I can even pat myself on the back when necessary, all so I don't have to ask anyone for anything. There's nothing I need from anyone except for love and respect, and anyone who can't give me those two things has no place in my life."