As a mysterious gay cancer emerges in 1981, infecting his friend Craig (Groff), outspoken writer Ned (Ruffalo) rallies Craig's boyfriend Bruce (Kitsch) and knowledgable volunteers Tommy and Mickey (Parsons and Mantello) to action with doctor Emma (Roberts), who believes it's sexually transmitted. But gay men aren't willing to give up their hard-fought sexual freedoms, and the government is doing absolutely nothing about the epidemic. Meanwhile, Ned finds love with New York Times journalist Felix (Bomer), but his hard-truth stance puts him at odds with his friends.

Ruffalo gives a bravely transparent performance as a guy who rubs people the wrong way because he can't contain his rage at the lack of action. As he says things others are afraid to admit, he's opposed by politicians and even his own colleagues. And Ruffalo plays the relationships beautifully, from romantic scenes opposite the terrific Bomer to potent interaction with Ned's brother (Molina). Perhaps the most telling scene is his shocking confrontation with a Reagan White House aide (Stoll).

Each person is complex and detailed, brought to life in unflinching performances. As the characters are based on real people, some feel slightly too telling, even as they emerge in nicely offhanded ways. For example, Roberts' Emma is wheelchair-bound after having polio as a child, which leads to a lovely scene in which she dances with Ned to (irony alert) Chances Are as well as a blistering face-off with politicians.

Most potent is how Kramer captures the intense personal shock of this epidemic, while director Murphy cleverly suggests is that these heroic men were born a generation too soon. The dialog is packed with unforgettable lines. "Men do not naturally not love," says Felix about hiding in the closet. "They've learned not to." When faced with the prospect that sex can kill, Ned asks, "What are we supposed to do, not be with anyone ever?" And Tommy makes a startling realisation: "Why are they letting us die? Because they just don't like us."

This is a strikingly intimate companion piece to essential documentaries We Were Here (2011), How to Survive a Plague (2012) and United in Anger (2012). And its HBO roots are a reminder that in America these kinds of stories are left to television, since studios are too terrified (and bigoted?) to go near them.

themes, language, strong sexuality

26.May.14