I’ve seen The Walker four times in the last few weeks. That either means it’s a very good movie or it’s the only movie in my TV movie packet that’s worthwhile (at least during the hours I’m watching.) The answer is: both.
The Walker stars Woody Harrelson in the lead role with some very good actors: Kristin Scott Thomas, Lauren Bacall, Ned Beatty, Lily Tomlin, William Dafoe, Moritz Bleibtreu and others scattered about in substantial or trivial roles.
First, what The Walker isn’t. Well, it isn’t Philadelphia. And I mean that in its treatment of gays. I hated Philadelphia’s treatment of gays and their friends and family. It made me want to pour molasses on the TV and have it set on by wild dogs. All gays and gay friends were so good and understanding. All non-gays and their minions were so bad. (Even with Mary Steenburgen’s throw away line after she finishes a brutal cross examination of Tom Hanks of: I hate my job; non-gays had no redeeming qualities.) This complete lack of reality cheapened that movie into a hackneyed polemic.
In The Walker, Harrelson as Carter Page III is gay and so-called “the walker” because he escorts rich women as part of his work. Carter descends from "royal" Washington, D.C. lineage so he fits right into the top-tier D.C. society and he walks the wives of the most powerful men. You learn early on that Carter is accepted for his sexual orientation since he travels freely with the welders of power - or is he?
A lot of stories are swirling in this movie. We have Carter’s relationship with his lover. Not being gay, but being human, I understand the pitfalls they were facing and how they were trying to establish a life together. Like all people, they were not on the same page: Carter walked in an effete society; Emek produced naturalistic photography which was abhorrent to his lover. Emek wanted Carter to fund a gallery showing for him and Carter felt he is being used. But when Carter gets into deep shit, Emek is there for him.
In many ways, the “deep shit” may seem like the movie is veering off course but the murder is the necessary catalyst for it turns Carter’s world upside down and finally he must face his dead and living demons.
Although the murder soon becomes this movie’s mover, it’s always a character study and Harrelson gives a superb performance as the Southern-accented, slightly lisping, impeccably dressed bon vivant who just happens to be gay. While Carter is not a character you would meet in a typical grocery store visit, it was refreshing to see gays portrayed not as icons; not as queens but what they are: humans like all of us.
Another big plus for me was that this movie mentions Iraq - more than once, and it mentions “the meanness of this administration - I’ve never seen anything like it” and it mentions that after 9/11, “the gloves came off.” Then there is the confrontation with the murderer scene. You don’t see the Hollywood Clint Eastwood moment but Carter reacts as the rest of us mere mortals would. Of course, there's more: the gay bar scene, it works; the smiles on the women in the final scene; and I still haven't figured out Kristin Scott Thomas' swaying hips scene.
In some ways the ending is deux ex machina. Or is it? Is the ending just cynical D.C. pragmatism? You decide.
There is so much to see in this movie. It truly is multi-layered. Watch it. I hope you enjoy it as much as I did.
The Walker stars Woody Harrelson in the lead role with some very good actors: Kristin Scott Thomas, Lauren Bacall, Ned Beatty, Lily Tomlin, William Dafoe, Moritz Bleibtreu and others scattered about in substantial or trivial roles.
First, what The Walker isn’t. Well, it isn’t Philadelphia. And I mean that in its treatment of gays. I hated Philadelphia’s treatment of gays and their friends and family. It made me want to pour molasses on the TV and have it set on by wild dogs. All gays and gay friends were so good and understanding. All non-gays and their minions were so bad. (Even with Mary Steenburgen’s throw away line after she finishes a brutal cross examination of Tom Hanks of: I hate my job; non-gays had no redeeming qualities.) This complete lack of reality cheapened that movie into a hackneyed polemic.
In The Walker, Harrelson as Carter Page III is gay and so-called “the walker” because he escorts rich women as part of his work. Carter descends from "royal" Washington, D.C. lineage so he fits right into the top-tier D.C. society and he walks the wives of the most powerful men. You learn early on that Carter is accepted for his sexual orientation since he travels freely with the welders of power - or is he?
A lot of stories are swirling in this movie. We have Carter’s relationship with his lover. Not being gay, but being human, I understand the pitfalls they were facing and how they were trying to establish a life together. Like all people, they were not on the same page: Carter walked in an effete society; Emek produced naturalistic photography which was abhorrent to his lover. Emek wanted Carter to fund a gallery showing for him and Carter felt he is being used. But when Carter gets into deep shit, Emek is there for him.
In many ways, the “deep shit” may seem like the movie is veering off course but the murder is the necessary catalyst for it turns Carter’s world upside down and finally he must face his dead and living demons.
Although the murder soon becomes this movie’s mover, it’s always a character study and Harrelson gives a superb performance as the Southern-accented, slightly lisping, impeccably dressed bon vivant who just happens to be gay. While Carter is not a character you would meet in a typical grocery store visit, it was refreshing to see gays portrayed not as icons; not as queens but what they are: humans like all of us.
Another big plus for me was that this movie mentions Iraq - more than once, and it mentions “the meanness of this administration - I’ve never seen anything like it” and it mentions that after 9/11, “the gloves came off.” Then there is the confrontation with the murderer scene. You don’t see the Hollywood Clint Eastwood moment but Carter reacts as the rest of us mere mortals would. Of course, there's more: the gay bar scene, it works; the smiles on the women in the final scene; and I still haven't figured out Kristin Scott Thomas' swaying hips scene.
In some ways the ending is deux ex machina. Or is it? Is the ending just cynical D.C. pragmatism? You decide.
There is so much to see in this movie. It truly is multi-layered. Watch it. I hope you enjoy it as much as I did.
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