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<blockquote data-quote="Mel O&amp;#039;Drama" data-source="post: 407237" data-attributes="member: 23">Pride (2014)

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This has been on my radar since... well, probably since it was released, a decade ago now. And so many intriguing hints dropped in this thread, how could I not want to see what the fuss is about? And since it&#039;s on iPlayer...This is my second consecutive film based on true events from the 1980s but, unlike Hillsborough, this particular story wasn&#039;t one with which I was familiar. Of course I was very aware of the Miners&#039; strike which was huge news for anyone who lived in South Wales, but I remember nothing of this particular aspect being reported (the one incident during the strike that really registered with me at the time was the death of David Wilkie, the taxi driver who had a concrete block thrown onto his car by two miners on a road bridge).In viewing&nbsp; terms, the strike most recently got many a mention in Brookside during 1984-85 episodes, particularly from union man Bobby Grant who is still doing his union thing in the late 1986 episodes I&#039;m currently watching. Coincidentally, these episodes also feature some of the series&#039; own working class characters discovering there are gay men in their midst, and it&#039;s been interesting to compare this actual mid-Eighties content with a 21st Century film made as a period piece. On Brookie there have been comments about &quot;benders&quot;, &quot;shirt-lifters&quot;, &quot;queers&quot; and keeping backs to the wall. All were fairly common pejoratives at the time, though the first two seem mostly forgotten... including by the writers of Pride who mostly stick to the more tried and tested (and recent) insults. Still, it all works.It&#039;s no secret I&#039;m quite hard to please when it comes to period films, not just with language used, but also rhythms of speech which in Britain have changed a lot in the last four decades (and even in the three between the miners&#039; strike and Pride). I&#039;m happy to report&nbsp; didn&#039;t find too much to nitpick with Pride. The march itself was called &quot;Gay Pride&quot;, as it would have been in 1985, before the LGBTQWERTY stuff. But on that note, I think (but couldn&#039;t swear) someone in the film used the term LGB or LGBT which I&#039;m pretty sure would have been (to be generous) extremely forward thinking in the mid-Eighties when the catch-all was &quot;GLB&quot;, &quot;Gay and Lesbian&quot; or simply &quot;Gay&quot;. As far as speech patterns, again, there&#039;s not much to complain about. The guy playing Mark Ashton was the least period-authentic in terms of delivery (lots of 21st Century pauses and random &quot;OKs&quot;) which I put down to the actor&#039;s age until I read afterwards that he&#039;s actually American where I found myself marvelling at how good his accent was.One more thing regarding terminology, one of the young characters sagely tells another that there&#039;s an age old tradition among gay people that if a word is used against them &quot;You take it and you own it&quot;.&nbsp; There&#039;s truth to this - I&#039;ve known people who&#039;ve referred to themselves or their friends as &quot;homo&quot;, &quot;poof&quot;, &quot;queen&quot;, &quot;dyke&quot; etc. - but it still made me shudder because it just made me think of how, in the longer term, people end up throwing around volatile &quot;reclaimed&quot; words without experiential understanding of the harm they&#039;ve done. Which is where we are with &quot;queer&quot; today.And the accents are pretty good in here. Of course, with Imelda Staunton or Bill Nighy, it&#039;s apparent they&#039;re &quot;doing&quot; Welsh because I&#039;ve heard them speak in so many other parts. Objectively, though, they nailed it. Likewise, I was surprised to find out that some of the actors playing Welsh characters were English or Irish since I formed the impression many were cast locally.The film evoked nostalgia in me on many levels, from the warmth of the Welsh people to the journey of coming out paired with the camaraderie of activism to the Eighties in general. The music, of course, is great.It&#039;s an accessible film with a sense of fun and lightheartedness. This makes for a very accessible film despite the story&#039;s political roots. I can fully understand how this won&#039;t satisfy everyone. It could have gone much harder and delved much deeper, but it&#039;s still quite a feat to tell a number of important stories in a short space of time in a balanced way. And I found out just enough to want to hit a search engine and explore some more. Any film that can raise awareness in this way has done its job well.This will definitely be featuring in at least one of the next couple of Top Tens.</blockquote>

[QUOTE="Mel O'Drama, post: 407237, member: 23"] [CENTER][B][SIZE=6]Pride[/SIZE][/B] (2014) [IMG width="589px"]https://external-content.duckduckgo.com/iu/?u=http%3A%2F%2Ffr.web.img3.acsta.net%2Fpictures%2F14%2F07%2F02%2F16%2F01%2F158254.jpg&f=1&nofb=1&ipt=94656c730bceff7ebf963bc6325b0e783f063fe052a5d0adbe1f4d668e856863&ipo=images[/IMG] [/CENTER] This has been on my radar since... well, probably since it was released, a decade ago now. And so many intriguing hints dropped in this thread, how could I not want to see what the fuss is about? And since it's on iPlayer... This is my second consecutive film based on true events from the 1980s but, unlike [I]Hillsborough[/I], this particular story wasn't one with which I was familiar. Of course I was very aware of the Miners' strike which was huge news for anyone who lived in South Wales, but I remember nothing of this particular aspect being reported (the one incident during the strike that really registered with me at the time was the death of David Wilkie, the taxi driver who had a concrete block thrown onto his car by two miners on a road bridge). In viewing terms, the strike most recently got many a mention in [I]Brookside[/I] during 1984-85 episodes, particularly from union man Bobby Grant who is still doing his union thing in the late 1986 episodes I'm currently watching. Coincidentally, these episodes also feature some of the series' own working class characters discovering there are gay men in their midst, and it's been interesting to compare this actual mid-Eighties content with a 21st Century film made as a period piece. On [I]Brookie[/I] there have been comments about "benders", "shirt-lifters", "queers" and keeping backs to the wall. All were fairly common pejoratives at the time, though the first two seem mostly forgotten... including by the writers of [I]Pride[/I] who mostly stick to the more tried and tested (and recent) insults. Still, it all works. It's no secret I'm quite hard to please when it comes to period films, not just with language used, but also rhythms of speech which in Britain have changed a lot in the last four decades (and even in the three between the miners' strike and [I]Pride[/I]). I'm happy to report didn't find too much to nitpick with [I]Pride[/I]. The march itself was called "Gay Pride", as it would have been in 1985, before the LGBTQWERTY stuff. But on that note, I think (but couldn't swear) someone in the film used the term LGB or LGBT which I'm pretty sure would have been (to be generous) extremely forward thinking in the mid-Eighties when the catch-all was "GLB", "Gay and Lesbian" or simply "Gay". As far as speech patterns, again, there's not much to complain about. The guy playing Mark Ashton was the least period-authentic in terms of delivery (lots of 21st Century pauses and random "OKs") which I put down to the actor's age until I read afterwards that he's actually American where I found myself marvelling at how good his accent was. One more thing regarding terminology, one of the young characters sagely tells another that there's an age old tradition among gay people that if a word is used against them "You take it and you own it". There's truth to this - I've known people who've referred to themselves or their friends as "homo", "poof", "queen", "dyke" etc. - but it still made me shudder because it just made me think of how, in the longer term, people end up throwing around volatile "reclaimed" words without experiential understanding of the harm they've done. Which is where we are with "queer" today. And the accents are pretty good in here. Of course, with Imelda Staunton or Bill Nighy, it's apparent they're "doing" Welsh because I've heard them speak in so many other parts. Objectively, though, they nailed it. Likewise, I was surprised to find out that some of the actors playing Welsh characters were English or Irish since I formed the impression many were cast locally. The film evoked nostalgia in me on many levels, from the warmth of the Welsh people to the journey of coming out paired with the camaraderie of activism to the Eighties in general. The music, of course, is great. It's an accessible film with a sense of fun and lightheartedness. This makes for a very accessible film despite the story's political roots. I can fully understand how this won't satisfy everyone. It could have gone much harder and delved much deeper, but it's still quite a feat to tell a number of important stories in a short space of time in a balanced way. And I found out just enough to want to hit a search engine and explore some more. Any film that can raise awareness in this way has done its job well. This will definitely be featuring in at least one of the next couple of Top Tens. [/QUOTE]

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