Seeking to watch (and own) everything Stockard Channing has ever starred or appeared in, I went into TIDY ENDINGS not knowing three things: that, 1) this was HBO's first gay-themed TV movie, 2) it was based on a play, and 3) it was so damned short - 53 minutes long, to be precise. Even so, TIDY ENDINGS almost feels like a feature-length film, since it explores such painfully realistic scenarios, jam-packed with intellectual and emotional information, wonderfully written, and superlatively performed. Not so needlessly painful, however, that one does not want to watch the picture again immediately after viewing.
The play was written by Harvey Fierstein (who also adapted it to the small screen), and, in addition, stars as Arthur, the romantic partner of Collin, who has just passed away from an AIDS-related illness. The thing is, Collin (unseen throughout) has also left behind an ex-wife, Marion (Channing), and a young son. Complications arise (and resurface) between the woman and the boyfriend in the wake of their beloved's death.
At first, things are mostly about Collin's material possessions - his will stipulating that loft he and Arthur shared be sold and the money be divided between boyfriend and ex-wife. However, both individuals deeply loved this man, and thoughts, feelings, memories, arguments, compliments, attacks, and such, ensue - finally "tidied up" (as we hope) with discovered affinities and gestures of appreciation and forgiveness.
More than anything, the film covers a range of hard, all-too-human topics that most TV work tends to avoid - esp. before and around that time. There are, indeed, tidy endings here - in a modest sense, in a sense of relief. However, an enlightened awareness of the harsh realities of life is never lost nor out of focus. This isn't Hollywood stuff.
Needless to say, Channing plays the confused, devastated, down-to-earth mother to perfection. Mixed feelings abound within her, because life isn't clear-cut. Still, Marion proves herself to be a wise and compassionate human being - and, ultimately, something of a tragic figure. Not a single note played by the great actress comes across as insincere.
Fierstein more than holds his own, too - and why wouldn't he? He wrote the play, and was obviously close to the material. It hasn't been an easy gig for the character of Arthur, yet Fierstein, as a writer, refuses to take sides between the lover and the ex-wife. Everyone suffers in these kinds of situations.
Some may claim that TIDY ENDINGS is dated, in both style and content, but that's nonsense. This is a scenario that could just as easily take place today as in 1988. As for style, why would (or even should) the past be like the present? The camera-work is quite beautiful and intriguing. And Stockard looks utterly ravishing as a classy blonde.
Short, yes, but well worthwhile.
The play was written by Harvey Fierstein (who also adapted it to the small screen), and, in addition, stars as Arthur, the romantic partner of Collin, who has just passed away from an AIDS-related illness. The thing is, Collin (unseen throughout) has also left behind an ex-wife, Marion (Channing), and a young son. Complications arise (and resurface) between the woman and the boyfriend in the wake of their beloved's death.
At first, things are mostly about Collin's material possessions - his will stipulating that loft he and Arthur shared be sold and the money be divided between boyfriend and ex-wife. However, both individuals deeply loved this man, and thoughts, feelings, memories, arguments, compliments, attacks, and such, ensue - finally "tidied up" (as we hope) with discovered affinities and gestures of appreciation and forgiveness.
More than anything, the film covers a range of hard, all-too-human topics that most TV work tends to avoid - esp. before and around that time. There are, indeed, tidy endings here - in a modest sense, in a sense of relief. However, an enlightened awareness of the harsh realities of life is never lost nor out of focus. This isn't Hollywood stuff.
Needless to say, Channing plays the confused, devastated, down-to-earth mother to perfection. Mixed feelings abound within her, because life isn't clear-cut. Still, Marion proves herself to be a wise and compassionate human being - and, ultimately, something of a tragic figure. Not a single note played by the great actress comes across as insincere.
Fierstein more than holds his own, too - and why wouldn't he? He wrote the play, and was obviously close to the material. It hasn't been an easy gig for the character of Arthur, yet Fierstein, as a writer, refuses to take sides between the lover and the ex-wife. Everyone suffers in these kinds of situations.
Some may claim that TIDY ENDINGS is dated, in both style and content, but that's nonsense. This is a scenario that could just as easily take place today as in 1988. As for style, why would (or even should) the past be like the present? The camera-work is quite beautiful and intriguing. And Stockard looks utterly ravishing as a classy blonde.
Short, yes, but well worthwhile.