Love Is Strange

In Love Is Strange, Ira Sachs has bucked the trend of American independent filmmaking and crafted an exceptionally thoughtful, elegiac nocturne of a film. It’s romantic without being cloying, it’s sad without being maudlin, it’s funny without winking at the audience, and above all, it’s real. Not a note feels inauthentic. Even the New York City apartments are real!
Ben (John Lithgow) and George (Alfred Molina) are a pair of New Yorkers who are a) in love, b) of a certain age and c) gay. One of these things used to make people gasp when combined with one of the other two. That was the dark ages of say, 2012. Now, notsomuch. The pair have been together for 39 years and due to the legalization of same sex marriage in New York State, are finally preparing to marry.
The beginning of their married life is pretty much as joyous as one could expect. Friends and relatives gather for a lovely outdoor New York City ceremony and return to the couple’s home for a lovely party of piano sing-alongs, toasts, stories, and bon mots. However one cannot help but notice a slight sense of melancholy creeping into the proceedings. If they got this far and are still together, the film seems to ask, why tempt fate by getting married?
Why, indeed? Well, love, for one. One can decry marriage as an archaic institution—and there will always be those who do, often and loudly—but for many people it’s still the ultimate example of confirming and publicly declaring one’s love for one’s partner. And, not to get too unromantic, there are plenty of legal reasons to get hitched (wills, hospital visitations, etc.).
On the other hand, 39 years is a pretty great run and those who fear that getting married might just upset the applecart are pretty much on the mark. Shortly after tying the knot, George is let go from his job teaching music at a Catholic school. While the school knew he was gay, apparently getting married was a bit too public for their liking, and the Bishop was not amused. Faced with a drastic drop in income, George and Ben are forced to sell their apartment and temporarily (and separately) move in with relatives and friends.
George lands on the couch of Ted (Cheyenne Jackson) and Roberto (Manny Perez), a younger gay policemen couple who are not accustomed to have a sexagenarian on their sofa and are reluctant to modify their lifestyle, which seems to consist of almost constant house parties (including an hysterical and raucous Dungeons & Dragons session), while Ben moves in with the family of his nephew Elliot. This latter arrangement seems, at first, to be the better of the two, but as Ben soon remarks, “Sometimes when you live with people, you know them better than you care to.”