Queer review: Daniel Craig is fully committed in Luca Guadagnino’s meandering adaptation

★★★☆☆

As a cinephile who has traversed the cinematic landscape for decades, I have seen my fair share of groundbreaking films that push boundaries and challenge societal norms. However, “Queer,” directed by Luca Guadagnino, falls short of being a truly exceptional piece in this category.

The film titled “Queer” made its debut at the Venice Film Festival and is set to arrive in UK theaters shortly. Don’t forget to add it to your list of must-watch movies!

In a different phrasing, if you were to say that Daniel Craig significantly altered or even destroyed the persona he built over five James Bond films, he accomplishes that remarkably in the movie titled “Queer”.

Lighting the fuse is Luca Guadagnino, the Italian director of the gay-themed masterpiece Call Me By Your Name. Here, he’s tackling William Burroughs’s novel, written in the early 1950s but not published until 1985.

Craig portrays the character based on the writer, who goes by the name William Lee, residing primarily in Mexico City. He’s often found at establishments like Ship Ahoy and Lola’s, which are popular gay bars.

It’s evident that Lee resides on the other side of the border due to homosexuality being outlawed in America. He often refers to his inclinations as a “hardship” or “burden.”

Spending time with a questionable crowd, he frequently indulges in drinking, smoking, and seeking casual pleasure wherever it’s available. The movie’s structure is quite fragmented during its opening part. However, things take a turn when Eugene Allerton (Drew Starkey), a strikingly handsome young man, enters the scene. At first, he isn’t sure if Eugene might be gay or not.

In an attempt to establish some kind of connection, the two ended up sharing a bed following a night of drinking, and for Allerton, it also involved being ill. Just before their lips met for a kiss, he inquired, “Do I smell like vomit?”

In that particular scene, Craig’s actions might be considered the most explicit moment in the show “Queer”, but it tends to be rather demure regarding sexual content, as evidenced by the camera focusing on the neon-lit street outside instead of the action at hand.

Instead, as Lee becomes progressively hooked on drugs, Guadagnino and screenwriter Justin Kuritzkes (responsible for Guadagnino’s recent mainstream tennis-themed hit Challengers) grow more energized.

Proposing a trip with Allerton to South America, the objective being to locate the Yage plant, often referred to as ayahuasca nowadays. An article in a magazine suggests that this plant heightens telepathic abilities. It’s said to be a reflective tool, implying Lee intends to consume it, as it’s commonly understood to offer an intimate glimpse into one’s inner self.

Queer review: Daniel Craig is fully committed in Luca Guadagnino’s meandering adaptation

Upon reaching the jungle, they come across Alice Cochran (Lesley Manville), a botanist known for her long, dark, stringy hair and mischievous grin. The change in the British actress is remarkable, as convincing as her fierce character portrayed in the 2020 film Let Him Go, where she starred alongside Kevin Costner.

The entire story kicks off as these two individuals are assaulted by a venomous-appearing snake, which Alice manages in a way reminiscent of a shaman. From that point forward, things become increasingly strange once Lee and Allerton ingest Yage.

As an enthusiast, I must admit there are captivating aspects, such as the Sloth residing in her quirky shack, yet the prolonged scene of two gentlemen indulging seems less engaging to me. What caught my eye were the unclothed torsos and close-ups of their bodies merging, skillfully enhanced by impressive visual effects. However, similar to Challengers, Guadagnino appears to exhibit a lack of self-restraint, and the trip sequence feels overly prolonged.

An earlier, terrifying dream featuring a spectral entity has a more profound effect, despite lasting merely a few moments.

Craig throws his heart into his character, working alongside several talented performers. One of these is Jason Schwartzman, who transforms himself almost unrecognizably for the role, sporting a beard, sandals, and a substantial build, portraying one of Lee’s associates.

The soundtrack likewise boasts some standout parts, particularly the inclusion of Nirvana’s “Come as You Are” (with a cover of “All Apologies” added during the opening credits).

Fundamentally, the production is skillfully designed, effectively transporting viewers to 1950s Latin America. However, its wandering narrative makes it challenging for Queer to maintain our focus, a task it struggles with as it transitions into an epilogue that lacks the emotional impact it intended to convey.

2024-09-04 02:01

★★★☆☆

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