|Written and Directed by: Lee Rose
Despite their weepie and over-acted reputation, TV movies have
the capacity to reach such a huge audience, so positive approaches
to lesbian sexuality in TV movies can only be considered a good
thing. With some OK performances by some reasonably well-known
faces, this is a reasonable example of the medium and
superior to many cinematic efforts I've seen dealing with
the same subject.
Kate (Leslie Hope - Keifer Sutherland's long-suffering wife on
24), a housewife and mother of two, has this
sense that she needs something more from life than her rapidly
cooling marriage. Before the opening credits have finished rolling
she has asked for a separation from her husband Jack. They have
two children, both of whom seem completely well adjusted and representative
of middle-America, despite the fact that teenaged daughter Sam
(Allison Pill) has purple streaks and sports a nose ring.
Feeling useless, Kate stumbles
into Hays realty and, perhaps out of pity, perhaps out of latent
attraction, is offered a job as a receptionist by the owner McNally
"Mac" Hays (Wendy Crewson - Better
than Chocolate). On her first day on the job she
discovers that Mac is an out lesbian and is surprised but not
thrown by the fact. Over the months that follow, the two begin
to form a friendship that gradually forms into a deeper attachment.
With the love affair established (albeit on rocky foundations),
thus begins Kate's long saga of coming out. Reaction to the news from
family and friends is mixed, but the balance tilts firmly towards
the negative. "Don't let the purple hair and nose ring fool
you mom, I'm upset!" gets my vote as the film's worst clanger.
So that's what the nose ring was for, to remind us that people
aren't what they appear. Subtle. Many of these scenes take the form of people standing on Kate's doorstep, delivering their messages and then leaving, giving me the impression that Kate should simply stop answering her doorbell.
Mac has her own issues. Despite being outwardly confident and
successful, she's emotionally fractured due to her
lover of ten years dying about 3 years earlier. She's done the whole painful coming out thing
once with the woman she thought she would be with forever, so
doesn't have the patience or fortitude at first to support Kate's
Mac is also now supporting her ex's grieving
brother Brad who is hopeless at selling real estate - a cameo
by Brent Spiner who, despite having less than ten lines in
the entire movie, delivers them admirably. It is he who ultimately opens up long
enough to convince Mac that she needs to move on and take some
All's well that ends well though; Sam and Jack come around, they
persuade Kate's mother to have some tolerance, and Mac gets over
her issues and jumps in head first to this new opportunity for
romance. It's all very heartwarming (leaning towards sickly), and blessedly so because
frankly I'm a bit strung out on lesbian stories that
end tragically and I needed a bit of hope, even the overwrought,
It is refreshing
to see that nowadays lesbians in TV movie-land are indeed sexual
beings. Lots of kisses, physicality of the non-fingertip variety,
and even a low key (strictly above the shoulders) sex scene are
offered up here for our enjoyment.
Unexpected Love doesn't live up to
its title in at least one significant way - I had a bit of tough time believing
these women were in love, mainly because the film skipped over those essential scenes that build a relationship before it proceeded to try and tear them down. You have to give the story some happiness, make us care for these characters, before you start to test them.
That being said, I thought Wendy Crewson in particular gives Mac's
character a sexual edge so often lacking in these TV affairs, and while I think Kate
gets through her own inner turmoil just a tad too quickly, she
does genuinely appear attracted enough to Mac to go through this
torture of coming out that she puts herself through.
What puzzled me was why Kate was automatically branded a lesbian
after one sexual attraction to one woman, after years of supposedly
fulfilling heterosexuality. Once again, while film and television has come leaps and bounds in terms of
lesbianism, bisexuality remains the unconquered taboo.
Why couldn't Kate be attracted to both men and women? Adding some
confronting sexual politics to the mix might have pushed this film to a point
where its message could be successful. Big steps in some areas,
small steps in others.
Lesbian writer/director Lee Rose is fast becoming the guru
of the TV movie lesbian, having already explored teenage
lesbianism in the excellent The
Truth About Jane and gotten Elle McPherson and Kate
Capshaw into bed in A Girl Thing. Her efforts
here are nowhere near as successful as these previous films, and the dire, predictable script had a lot to do with that. Still, the actors did OK with what they were given, and you could do worse than to stick with this if you stumble across it and there's nothing better on TV.
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