Date: Saturday 9th April 2011
Location: Rio Cinema, Dalston
Desert Hearts… I can’t even mention the name without smiling.
This was the film that made me fall in love with being in love (and ever since, I’ve been waiting for my very own Cay Rivvers!). I think my whole idea of how being in love should be is based on this film. The film set my expectations back when I was 18 years old, in my darkened bedroom, earphones plugged into my portable black and white (not wanting my parents to hear I was still up), and urging Cay to ‘Get on the train!’ in a whispered shout at the screen.
I had not seen the film on the big screen before, so imagine my joy to find out Desert Hearts had been voted by readers of website The Most Cake to be shown as part of the Fringe Festival. The Fringe Festival is a DIY London Gay Film Festival set up in response to the cuts that caused the London Lesbian and Gay Film Festival to be trimmed down this year. It’s non-profit, organised by a team of folk over Facebook and offered an array of events, shorts and films. See www.facebook.com/fringefilmfest for further information.
Desert Hearts (1985)is based on the novel Desert of the Heart by Jane Rule, and is testament to actors Helen Shaver, Patricia Charbonneau and director Donna Deitch that it can still holds its own. The acting is strong and believable, and at the time it was a groundbreaking film.. It was unheard of to have a full-length lesbian love story with such a positive portrayal of lesbians on screen, and also unusual for it not to end in suicide or a broken heart. It really is a celebration of every shiver, tingle, grin of falling in love.
And this was all done with only a budget of $350,000.
It paved the way for many lesbian films and in fact the producers of the L Word got the actors to watch Desert Hearts. It is well regarded as having what remains one of the best lesbian love scenes, and although explicit it is not exploitative. It is tender, well directed and feels much more real than anything else I’ve seen so far. It works both sexually and emotionally.
For both Shaver and Charbonneau, the film became life and career changing – it remains for both the only film where they both play lead roles and having read through interviews with them I feel they have a sense of pride in having done the film – despite being advised not to by friends at the time.
On a day with sunshine and a blue sky to match that of Reno, Dalston’s Rio Cinema played host to the showing of this film. Yes, on one of the warmest days of the year so far, a bunch of women sat in a darkened cinema screen and turned back the years. No one minded sacrificing a few hours of sunshine for time spent watching this lesbian classic.
Seeing the original cinema poster up at the Rio I was transported back in time. Sadly there weren’t overflowing queues of lesbians I had envisaged . However the foyer filled quickly, and with the opportunity to get your photo taken dressed as a cowgirl complete with hat, leather jacket and cactus, it quickly became fun to people-watch and enjoy the build up to this event. As tickets were collected, popcorn sold and groups of people chatted, a roller skating usherette dressed as a cowgirl offered cupcakes.
Speaking to some of those in attendance beforehand I was surprised to learn of how many hadn’t seen the film before. I think I was expecting the audiences to be full of Desert Heart devotees as this film was such a rite of passage for me.
Making myself comfortable in the screen, I vowed to the folk sitting near me that I wouldn’t scream, shout, cry or be over-emotional at any point. I actually felt as though this would be quite impossible at the time but you’ll be pleased to hear I did manage to control myself, submerging myself into the film and atmosphere of the screen – a smile playing on the corners of my mouth in the darkness.
After an introduction (complete with cactus on stage) from Anna (Fringe Festival) and Kitty (Most Cake) the lights went down and the chatter faded. I felt the same excitement I get when I’m at a gig and the lights godown – it surprised me as I have never felt this way about a film before. The film started, Helen Shaver’s name provoking a semi-cheer when it came up on screen.
The plot is simple, set in the 1950’s, an English professor, Vivian Bell (Helen Shaver) goes to Reno whilst divorcing her husband. She books into a ranch run by Frances Parker (Audra Lindley) and in the process meets Frances; step daughter, Cay Rivvers (Patricia Chabonneau). The films unfolds with Cay and Vivian being drawn together, along the way struggling with conflicting desires but ultimately falling in love with each other. It is a true love story.
I feel it is impossible not to like Vivian and Cay. Although Vivian seems to take more of a journey - her life has been all about order, her fears of what people will think of her stopping her from being with Cay, and during the film she changes into someone figuring out how she is going to live her life as a freer person – which includes having a relationship with another woman. (Even her dress reflects her evolution). As for Cay, well, she leaps off the screen, a free spirit who knows what she wants, who isn’t conventional, but who is still determined to have it; striving to meet someone who ‘counts’. She is passionate and romantic, believing Vivian is ‘the one’ and not letting go.
Neither character is the stereotypical lesbian and both are played with a sensitivity that had been lacking in any previous attempts to portray lesbians on the big screen.
Set against a backdrop of country music which enhances the mood of the characters – seeing Cay drive downtown Reno to the Patsy Cline’s “Crazy” provokes a feeling of restlessness and a yearning, which although seemingly impossible will not be reined in – the film’s success owes a lot to the chemistry between the two leads. Their relationship builds slowly and each time they share the screen it feels as though their bond is getting stronger. Despite the emotional turmoil there is no disguising the desire they feel of each other.
Their first kiss is absolutely wonderful and beautifully shows off the allure between Shaver and Charbonneau:
Cay: [after Vivian breaks away from a passionate kiss] We don't have to stop.
Vivian: I do.
Cay: Where did you learn to kiss like that?
Vivian: I don't know where that came from. It's back where it belongs, and I don't want to talk about it anymore.
I’d forgotten how humourous the film is – whether or not it intended to be or not – and the audience laughed along, a perfect example of Vivian’s quick wit:
Lucille: “Nobody said it didn’t take all kinds, Vivian”
Vivian: “And you’re certainly making a unique contribution”
Causing amusement as well as Cay’s blatant advances towards Vivian, which constantly tickled the audience. The loudest laugh though was reserved for the moment Vivian, realising “My only clear memory is arriving. The rest is a blur. An absolute blur” then turns to see a half naked Cay in bed, waiting for her.
Which leads of course to much celebrated sex scene. I wondered what reaction it would get and was surprised when stillness swept over the screen. It was almost as though the cinema were holding its breath. I’m not sure what I was expecting, cheering, laughter, clapping, jeering, cheering? It felt to me like people were respecting the scene. Total silence made every sound on screen amplified. I’d never heard a kiss so loud.
The film slowly sauntered into the sunset with a satisfying glow, applause from the audience was quickly followed by the buzz of conversation as people made their way back out into the bright sunshine. The foyer seemed full only momentarily as folk made good use of the rest of the blue sky and sun, perhaps wondering where Vivian and Cay would be now if they were real…
Talking to Fringe Festival Liz it was fascinating to learn the Desert Hearts film reel shown was the only copy in Europe and it had been challenging getting hold of it. It is further evidence to the power of the film – and the hearsay surrounding it perhaps that it got the most votes. Incidentally, ‘But I’m a Cheerleader’ came second, closely followed by ‘Show me Love’ and then ‘High Art’.
I was interested to see how people felt after watching the film, particularly those who has never seen it. There seemed to be a general feeling that although looking slightly dated – more down to costume – it stood up well, with story and characters liked. And although I had never seen it as a comical film when I had first seen it, opinions were united in describing it as funny.
For me, eighteen years have passed, and I saw the film differently this time, realising the humour this time around. And yet, it still holds that magic for me. It is still beautiful and tender. Maybe I’m just a complete romantic but no matter how corny some lines seem, they still sound like a rendezvous with ‘what someone should say’.
It is lines like “being with you is starting to hurt” and “we’ve been saying goodbye from the beginning” that I fell in love with first time round, and no matter how cheesy this dialogue seems I find it almost lyrical. I want to carry them around, write them down, say them, dip them in chocolate, run away with them, watch them build a happy home together.
What intrigued me was how different it felt watching the film with 100 other people. I’d only ever seen the film on my own – it’s a very personal film because of that. I felt very much like I was letting the audience into a world I’d only ever known, letting people into my bedroom almost. I wanted to stand up at the end and take a bow, I was delighted when they laughed at the jokes – for they were my jokes – and glad to hear how they had enjoyed the film afterwards – for it was my film.
I still held my breath when Cay leant in to Vivian in the rain. The rain in that scene only seems to make it more intense, watching it drip from Cay’s hair is a moment of beauty. And the expression on Cay’s face reminds me somehow of my first kiss. That excitement, the first touch of her lips on mine, and my eyes wide as we slowly drew apart. I thought my eyes would not close that night. I felt like I’d been hit in the face by the most beautiful escape.It felt wonderful to be re-acquainted with that naïve girl who was once me, when all I had to base any desire on was this movie.
I wonder what a new generation will make of Desert Hearts, it feels timeless for me. I realised one of the things I love the most about the film is it’s pace – the characters build up their relationship before they share a bed. The way the story slowly unfolds is very much down to Deitch’s direction and it feels very different from today’s films and dramas where it all seems so instant.
It isn’t about the glitz and the glam, there are no funky hairdos (well…), no swearing, drugs. It is a love story. Pure and simple. And as a love story, it still works. And anyone who believes in wanting a string of lights around their heart will absolutely bask in its brilliance.
The sequel is in the making; rumoured to be set in New York in the late 60’s early 70’s and featuring both Cay and Vivian as well as other characters. I for one cannot wait to catch up with them. For more information, visit the Donna Deitch website.
Review by Caz Maughan
Location: Rio Cinema, Dalston
Desert Hearts… I can’t even mention the name without smiling.
This was the film that made me fall in love with being in love (and ever since, I’ve been waiting for my very own Cay Rivvers!). I think my whole idea of how being in love should be is based on this film. The film set my expectations back when I was 18 years old, in my darkened bedroom, earphones plugged into my portable black and white (not wanting my parents to hear I was still up), and urging Cay to ‘Get on the train!’ in a whispered shout at the screen.
I had not seen the film on the big screen before, so imagine my joy to find out Desert Hearts had been voted by readers of website The Most Cake to be shown as part of the Fringe Festival. The Fringe Festival is a DIY London Gay Film Festival set up in response to the cuts that caused the London Lesbian and Gay Film Festival to be trimmed down this year. It’s non-profit, organised by a team of folk over Facebook and offered an array of events, shorts and films. See www.facebook.com/fringefilmfest for further information.
Desert Hearts (1985)is based on the novel Desert of the Heart by Jane Rule, and is testament to actors Helen Shaver, Patricia Charbonneau and director Donna Deitch that it can still holds its own. The acting is strong and believable, and at the time it was a groundbreaking film.. It was unheard of to have a full-length lesbian love story with such a positive portrayal of lesbians on screen, and also unusual for it not to end in suicide or a broken heart. It really is a celebration of every shiver, tingle, grin of falling in love.
And this was all done with only a budget of $350,000.
It paved the way for many lesbian films and in fact the producers of the L Word got the actors to watch Desert Hearts. It is well regarded as having what remains one of the best lesbian love scenes, and although explicit it is not exploitative. It is tender, well directed and feels much more real than anything else I’ve seen so far. It works both sexually and emotionally.
For both Shaver and Charbonneau, the film became life and career changing – it remains for both the only film where they both play lead roles and having read through interviews with them I feel they have a sense of pride in having done the film – despite being advised not to by friends at the time.
On a day with sunshine and a blue sky to match that of Reno, Dalston’s Rio Cinema played host to the showing of this film. Yes, on one of the warmest days of the year so far, a bunch of women sat in a darkened cinema screen and turned back the years. No one minded sacrificing a few hours of sunshine for time spent watching this lesbian classic.
Seeing the original cinema poster up at the Rio I was transported back in time. Sadly there weren’t overflowing queues of lesbians I had envisaged . However the foyer filled quickly, and with the opportunity to get your photo taken dressed as a cowgirl complete with hat, leather jacket and cactus, it quickly became fun to people-watch and enjoy the build up to this event. As tickets were collected, popcorn sold and groups of people chatted, a roller skating usherette dressed as a cowgirl offered cupcakes.
Speaking to some of those in attendance beforehand I was surprised to learn of how many hadn’t seen the film before. I think I was expecting the audiences to be full of Desert Heart devotees as this film was such a rite of passage for me.
Making myself comfortable in the screen, I vowed to the folk sitting near me that I wouldn’t scream, shout, cry or be over-emotional at any point. I actually felt as though this would be quite impossible at the time but you’ll be pleased to hear I did manage to control myself, submerging myself into the film and atmosphere of the screen – a smile playing on the corners of my mouth in the darkness.
After an introduction (complete with cactus on stage) from Anna (Fringe Festival) and Kitty (Most Cake) the lights went down and the chatter faded. I felt the same excitement I get when I’m at a gig and the lights godown – it surprised me as I have never felt this way about a film before. The film started, Helen Shaver’s name provoking a semi-cheer when it came up on screen.
The plot is simple, set in the 1950’s, an English professor, Vivian Bell (Helen Shaver) goes to Reno whilst divorcing her husband. She books into a ranch run by Frances Parker (Audra Lindley) and in the process meets Frances; step daughter, Cay Rivvers (Patricia Chabonneau). The films unfolds with Cay and Vivian being drawn together, along the way struggling with conflicting desires but ultimately falling in love with each other. It is a true love story.
I feel it is impossible not to like Vivian and Cay. Although Vivian seems to take more of a journey - her life has been all about order, her fears of what people will think of her stopping her from being with Cay, and during the film she changes into someone figuring out how she is going to live her life as a freer person – which includes having a relationship with another woman. (Even her dress reflects her evolution). As for Cay, well, she leaps off the screen, a free spirit who knows what she wants, who isn’t conventional, but who is still determined to have it; striving to meet someone who ‘counts’. She is passionate and romantic, believing Vivian is ‘the one’ and not letting go.
Neither character is the stereotypical lesbian and both are played with a sensitivity that had been lacking in any previous attempts to portray lesbians on the big screen.
Set against a backdrop of country music which enhances the mood of the characters – seeing Cay drive downtown Reno to the Patsy Cline’s “Crazy” provokes a feeling of restlessness and a yearning, which although seemingly impossible will not be reined in – the film’s success owes a lot to the chemistry between the two leads. Their relationship builds slowly and each time they share the screen it feels as though their bond is getting stronger. Despite the emotional turmoil there is no disguising the desire they feel of each other.
Their first kiss is absolutely wonderful and beautifully shows off the allure between Shaver and Charbonneau:
Cay: [after Vivian breaks away from a passionate kiss] We don't have to stop.
Vivian: I do.
Cay: Where did you learn to kiss like that?
Vivian: I don't know where that came from. It's back where it belongs, and I don't want to talk about it anymore.
I’d forgotten how humourous the film is – whether or not it intended to be or not – and the audience laughed along, a perfect example of Vivian’s quick wit:
Lucille: “Nobody said it didn’t take all kinds, Vivian”
Vivian: “And you’re certainly making a unique contribution”
Causing amusement as well as Cay’s blatant advances towards Vivian, which constantly tickled the audience. The loudest laugh though was reserved for the moment Vivian, realising “My only clear memory is arriving. The rest is a blur. An absolute blur” then turns to see a half naked Cay in bed, waiting for her.
Which leads of course to much celebrated sex scene. I wondered what reaction it would get and was surprised when stillness swept over the screen. It was almost as though the cinema were holding its breath. I’m not sure what I was expecting, cheering, laughter, clapping, jeering, cheering? It felt to me like people were respecting the scene. Total silence made every sound on screen amplified. I’d never heard a kiss so loud.
The film slowly sauntered into the sunset with a satisfying glow, applause from the audience was quickly followed by the buzz of conversation as people made their way back out into the bright sunshine. The foyer seemed full only momentarily as folk made good use of the rest of the blue sky and sun, perhaps wondering where Vivian and Cay would be now if they were real…
Talking to Fringe Festival Liz it was fascinating to learn the Desert Hearts film reel shown was the only copy in Europe and it had been challenging getting hold of it. It is further evidence to the power of the film – and the hearsay surrounding it perhaps that it got the most votes. Incidentally, ‘But I’m a Cheerleader’ came second, closely followed by ‘Show me Love’ and then ‘High Art’.
I was interested to see how people felt after watching the film, particularly those who has never seen it. There seemed to be a general feeling that although looking slightly dated – more down to costume – it stood up well, with story and characters liked. And although I had never seen it as a comical film when I had first seen it, opinions were united in describing it as funny.
For me, eighteen years have passed, and I saw the film differently this time, realising the humour this time around. And yet, it still holds that magic for me. It is still beautiful and tender. Maybe I’m just a complete romantic but no matter how corny some lines seem, they still sound like a rendezvous with ‘what someone should say’.
It is lines like “being with you is starting to hurt” and “we’ve been saying goodbye from the beginning” that I fell in love with first time round, and no matter how cheesy this dialogue seems I find it almost lyrical. I want to carry them around, write them down, say them, dip them in chocolate, run away with them, watch them build a happy home together.
What intrigued me was how different it felt watching the film with 100 other people. I’d only ever seen the film on my own – it’s a very personal film because of that. I felt very much like I was letting the audience into a world I’d only ever known, letting people into my bedroom almost. I wanted to stand up at the end and take a bow, I was delighted when they laughed at the jokes – for they were my jokes – and glad to hear how they had enjoyed the film afterwards – for it was my film.
I still held my breath when Cay leant in to Vivian in the rain. The rain in that scene only seems to make it more intense, watching it drip from Cay’s hair is a moment of beauty. And the expression on Cay’s face reminds me somehow of my first kiss. That excitement, the first touch of her lips on mine, and my eyes wide as we slowly drew apart. I thought my eyes would not close that night. I felt like I’d been hit in the face by the most beautiful escape.It felt wonderful to be re-acquainted with that naïve girl who was once me, when all I had to base any desire on was this movie.
I wonder what a new generation will make of Desert Hearts, it feels timeless for me. I realised one of the things I love the most about the film is it’s pace – the characters build up their relationship before they share a bed. The way the story slowly unfolds is very much down to Deitch’s direction and it feels very different from today’s films and dramas where it all seems so instant.
It isn’t about the glitz and the glam, there are no funky hairdos (well…), no swearing, drugs. It is a love story. Pure and simple. And as a love story, it still works. And anyone who believes in wanting a string of lights around their heart will absolutely bask in its brilliance.
The sequel is in the making; rumoured to be set in New York in the late 60’s early 70’s and featuring both Cay and Vivian as well as other characters. I for one cannot wait to catch up with them. For more information, visit the Donna Deitch website.
Review by Caz Maughan
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