"In and Out" -Lighthearted Film on Serious Social Change Via NY Transfer News Collective * All the News that Doesn't Fit ------------------------- Via Workers World News Service Reprinted from the October 30, 1997 issue of Workers World newspaper ------------------------- "IN AND OUT": LIGHT-HEARTED FILM REFLECTS SERIOUS SOCIAL CHANGES By Preston Wood "In and Out" is a gay-themed comedy full of subversive humor and affection for its characters. It is the funny side of what happens when people try to cope with society's roller-coaster attempt to redefine love, sex and family in a fast-changing world, where archaic definitions of men's and women's roles in the work place and at home have been radically altered. These changes evolve from developments in the U.S. work force and technology. In this high-tech, low-pay economy, male and female workers alike must struggle in the face of assaults on their basic standard of living. Decades of mass struggles by the women's and the lesbian/gay/trans/bi movements for social equality have transformed the way millions of people view such issues. It is not surprising that "In and Out" is such a funny and well-executed film. Written by Paul Rudnick--whose film "Jeffrey" was widely popular in the gay community but ignored by non-gay audiences--"In and Out" utilizes some of Hollywood's best actors and fine direction by Frank Oz. Kevin Kline, Joan Cusack, Debbie Reynolds, Tom Selleck and the rest of the cast turn in top-notch performances. What is surprising is that the movie has hit a bull's-eye with a broad, diverse audience. A non-stop barrage of one-liners sustains and holds this film together. It is a funny and satirical view of not only small-town America, but of Hollywood, the media, and the Oscars as well. But the satire is pointed at the foibles and contradictions of society, the shallow values perpetrated by the media--it is not aimed at either the gay community or at the supposed backwardness of people living in a small town in the Midwest. "In and Out" throws a light-hearted curve ball at prejudice and makes fun of backwardness and bigotry. Sincere writers and directors in Hollywood have struggled to do justice to the issue of lesbian and gay oppression throughout the years--in films such as "The Children's Hour," "Advise and Consent," "The Boys in the Band," "Making Love," and so on. Only recently, though, have such themes in movies and on television met with commercial success. This development has been accompanied by much discussion and even hype in the media--about the coming-out show on "Ellen" and the on-air lesbian kiss on "Roseanne," for example. Attempts by reactionary forces to turn back the gains of the gay movement have been met with increasingly united resistance. Unions, civil-rights groups and other progressive forces have forged unity to push back the right wing. Art, on the other hand, does not lead society. It can, though, assist progressive struggles by initiating discussion and raising consciousness. The capitalist class owns and controls the means to make a film, produce a book, or mount a TV series. Now, decades of struggle by the lesbian/gay/bi/trans movement for democratic rights--and the uniting of the struggles against racism, sexism, immigrant bashing, homophobia or any kind of bigotry--have brought the issue of gay rights out of the closet for all, to the point where the U.S. bourgeoisie is compelled to deal with it at last. This does not mean, though, that gay/lesbian/bi/trans rights are in the bag. The vast majority of working-class and oppressed gay people still face enormous bigotry, discrimination and police harassment. Anti-gay discrimination is still perfectly legal in 39 states. There is still no federal law banning such discrimination. Gays are still shunned in the military. Millions are still forced to hide their sexual orientation. To move the struggle ahead, the leaders of the gay movement must reach out to these people and their natural allies in the working class and oppressed communities. Those who counterpoise one great democratic movement against any other are making a serious error, failing to fight for the unity the working-class movement must have in the struggles ahead. A movie like "In and Out" is a result of and doesn't substitute for the mass struggle for gay liberation. Still, the sight of two wonderful men passionately embracing, or of one individual and eventually a whole town coming out against backwardness, makes a funny, intelligent contribution to the effort to raise consciousness. - END - (Copyright Workers World Service: Permission to reprint granted if source is cited. 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