Supernova

This is one of those quiet movies that tells a simple core of a story mostly through dialogue and facial expressions, the kind of movie that drives some viewers crazy, running for the exits complaining that nothing happens. I saw criticism somewhere because two straight actors were cast for the roles of the gay lead characters, the standard issue of Weren’t there any gay actors they could find? I am not offended by this bit of casting, but I am not gay either. Surely many gay actors have played straight roles, right? Though let’s face it, that was born out of a long history of actors not being able to reveal their sexuality or risk damaging their careers. But it must be considered a good sign that now actors do not fear poor press by playing the roles of gay men. Anyway, it is a good movie, well written and performed skillfully by a solid ensemble cast. It is not your typical road trip movie because mostly the journal is internal, so we don’t see much in the way of sweeping scenery. I occasionally felt the lack of details in scene transitions, but it was hardly fatal to the story. Such as the house they came to stay at — I wasn’t sure how it came about, but then again, it was not critical to the plot that we know. I can’t say I would go out of my way to watch Supernova again (so many movies and programs, so little time), but neither would I change the channel or leave the room if it comes on.

It’s been said that life is what happens when you’re busy making other plans, and such is the story of partners Sam (Colin Firth) and Tusker (Stanley Tucci). The two men are taking a road trip through the English countryside, visiting friends, family, and special places from their past. The two reminisce on their decades-old relationship, and things seem to be going well — until one day, Sam finds Tusker standing in the middle of traffic, confused about where he is. Do not dismiss “Supernova” as just another movie about dementia, which seems to be the topic du jour of late. Writer / director Harry Macqueen‘s restrained tale of morality and love ascends to a different level of sadness and sophistication, with atmospheric melancholy flowing from his sparse (and effective) storytelling. This movie is sadness. It’s revealed that Tusker was a writer and he can no longer practice his craft, while Sam is a pianist who has put his life on hold to seize what may be one of the last few opportunities to spend time with his love. The two wrestle with the dwindling sense of normalcy, and a devastating secret reveals that they have very different ideas for their future. Firth and Tucci both turn out some of the best work of their respective careers. The chemistry between the two is a significant element of what makes this film tick. Their performances are extraordinarily moving, and it’s heartbreaking to watch as the emotional toll from a debilitating illness begins to take root. Tusker faces his worsening condition with humor and honesty, and will do everything to remain in control of his own destiny. Sam is willing to abandon everything about himself and his life just to take care of and spend one more second with his partner, and he’s having a difficult time facing the reality of his future. It’s an honest look at the practical versus emotional approach to what essentially is a death sentence. Macqueen’s screenplay is filled with honest, raw writing and beautifully sad dialogue. There isn’t one thing in this film that isn’t believable, and that’s what makes “Supernova” so successful in portraying the reality of life, death, and love.