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音乐人鲁迪（艾伦·卡明 Alan Cumming 饰）在从事变装表演时邂逅地区检察官保罗（加瑞特·迪拉胡特 Garret Dillahunt 饰），两人一见钟情。晚上回家后鲁迪被邻居喧哗搅得无法休息，当他气势汹汹的上门投诉，却惊讶发现原来屋里只有一个叫马可（埃萨克·莱瓦 Isaac Leyva 饰）的矮胖男孩。鲁迪尝试联络保罗商量对策，但由于马可存在先天智力缺陷，妈妈又因为吸毒而被捕，很快家庭福利署就将马科带走了。后来当鲁迪和保罗看到马可一个人在街头流浪时，他们没有多做考虑就将男孩带回了家。 两人反复讨论后决定收养马可，为他提供一个安稳的生活环境。 不料法院在审核监护权的过程中发现了他们的性取向，法律体系就像一把枷锁狠狠劈来，要斩断他们和那个有特殊障碍、但他们却视如己出的男孩的关系...... 本片根据真人真事改编，背景设定在70年代的美国加州，讲述了一对同性恋伴侣如何与偏狭的社会观念和法律体系抗争，争取一个智力缺陷男孩的抚养权的故事。本片获得2012年芝加哥国际电影节、棕榈泉国际电影节、西雅图国际电影节和纽约翠贝卡电影节的观众选择奖。
长篇影评
1 ) 不添加個人情緒的客觀影片
當我在看完預告的時候，就已經確信這是部非常棒的電影
這是由一個真實故事改編的電影。
故事發生在70年代的美國，圍繞著一個患有唐氏綜合癥14歲的男孩Marco DeLeon展開。
故事的背景在同性戀者愛情的烘托下異常成功(注：70年代的美國對於同性戀相當歧視)。因為這是一個炙手可熱、奪人眼眸的商業亮點，是曾加票房收入且吸人眾人的一個堅固題材，且能很好的達到讓觀眾產生共鳴并體會到他們在爭取撫養權時所受到不公平審判地痛苦、無奈。但導演並沒有過度深入描寫同性戀的戀情，因這個亮點的背景是可被取代的，可以是從監獄出來的人，也可以是有複雜背景的人等等......電影在一開始就已Marco孤獨的背影展開，明確告訴觀眾這部電影的第一主角與主線就是Marco。這個擁有燦爛笑容禮貌的男孩，天真可愛。他用自己的方式安靜小巧的生存在這複雜的社會，雖然在智力方面不如正常人，但是也如常人那般渴望能擁有一個幸福溫暖的家，有真正疼愛他為他睡前講故事的人。
導演所刻畫的第二主角Rudy Donatello是個鮮明討人喜愛的人物，在導演一步步把Ruby對於Marco的愛緩緩帶出後，讓觀眾更能投入到Ruby那份對Marco的真摯愛中。Ruby在影片里親自演唱的3首歌曲"Come to Me" " Love Don't live Here Anymore" "I Shall Be Released" 貫穿整部電影。導演在歌曲方面的安排不僅純粹只是電影插曲，而是以Ruby的方式更好的帶出他對Marco深厚的愛。歌曲成為電影重要的一部份完全融入其中，很是難得。
檢察官Paul Fleiger，雖然導演並沒有過多深入述說他的背景，但依舊成功讓觀眾對Paul有一種難以言說的敬佩之情。我想大家都會記得這個畫面，Paul一臉認真的教導Marco做功課，從他眼中就可以感受到他對Marco滿滿的真摯的愛。當然還有他在法庭堅定不移的言語，字字入人心。他是個絕對成功且不用過多刻畫的第三主角。
但整部影片最讓我感覺驚喜的是，導演用了一個如此平靜的方式來宣洩他對於這個社會不公義現象的哀歎。影片最後，Paul在信裏告訴每一個反對他們爭取Marco撫養權的人，認真描述給他們聽Marco是一個怎樣惹人喜愛的善良孩子。他並不是寫信指責他們做錯了什麽，而是嘗試讓他們瞭解Marco是一個怎樣的孩子，因為他們從來都沒有機會認識Marco。Paul所希望的是，當他們真的瞭解後可以明白Marco所真正需要的是什麽。雖已然沒有什麽能再為Marco做的了，但至少在以後，當再次出現類似的Case，能請寬容對待。
這就是導演的魅力之處，也是最最成功之處。那些反面的角色不是叫人來憎恨的，而是叫人來反思的。
我很感激導演在這部電影上花的所有一切心血，雖然身為商業片但導演非常成功傳遞了他所想要帶給觀眾們明確的信息。
最後，我想分享一下對「And Day Now」 這個名字的看法：
"Any Day" 在我們平凡生活里的每一天，都會有無數向Marco這樣的人身處在我們彼此的身邊。而"Now"，此刻的你能為他們做的或許看似微小，但對於他們卻是最大的，最為珍貴的。
台詞精髓：
At the court， Paul say：『This hearing is about Marco. who at this very moment is sitting in some foster home. and who will sit in some foster home forever. because no one want to adopt him. No one wants to adopt some short, fat, mentally handicapped kid. No one in this entire world wants him...except us. We want him. We love him. We'll take care of him and educate him, keep him safe and raise him to be a good man. Isn't that what he deserves? Isn't that what every child deserves?』
http://blog.qooza.hk/chenfeng
這是由一個真實故事改編的電影。
故事發生在70年代的美國，圍繞著一個患有唐氏綜合癥14歲的男孩Marco DeLeon展開。
故事的背景在同性戀者愛情的烘托下異常成功(注：70年代的美國對於同性戀相當歧視)。因為這是一個炙手可熱、奪人眼眸的商業亮點，是曾加票房收入且吸人眾人的一個堅固題材，且能很好的達到讓觀眾產生共鳴并體會到他們在爭取撫養權時所受到不公平審判地痛苦、無奈。但導演並沒有過度深入描寫同性戀的戀情，因這個亮點的背景是可被取代的，可以是從監獄出來的人，也可以是有複雜背景的人等等......電影在一開始就已Marco孤獨的背影展開，明確告訴觀眾這部電影的第一主角與主線就是Marco。這個擁有燦爛笑容禮貌的男孩，天真可愛。他用自己的方式安靜小巧的生存在這複雜的社會，雖然在智力方面不如正常人，但是也如常人那般渴望能擁有一個幸福溫暖的家，有真正疼愛他為他睡前講故事的人。
導演所刻畫的第二主角Rudy Donatello是個鮮明討人喜愛的人物，在導演一步步把Ruby對於Marco的愛緩緩帶出後，讓觀眾更能投入到Ruby那份對Marco的真摯愛中。Ruby在影片里親自演唱的3首歌曲"Come to Me" " Love Don't live Here Anymore" "I Shall Be Released" 貫穿整部電影。導演在歌曲方面的安排不僅純粹只是電影插曲，而是以Ruby的方式更好的帶出他對Marco深厚的愛。歌曲成為電影重要的一部份完全融入其中，很是難得。
檢察官Paul Fleiger，雖然導演並沒有過多深入述說他的背景，但依舊成功讓觀眾對Paul有一種難以言說的敬佩之情。我想大家都會記得這個畫面，Paul一臉認真的教導Marco做功課，從他眼中就可以感受到他對Marco滿滿的真摯的愛。當然還有他在法庭堅定不移的言語，字字入人心。他是個絕對成功且不用過多刻畫的第三主角。
但整部影片最讓我感覺驚喜的是，導演用了一個如此平靜的方式來宣洩他對於這個社會不公義現象的哀歎。影片最後，Paul在信裏告訴每一個反對他們爭取Marco撫養權的人，認真描述給他們聽Marco是一個怎樣惹人喜愛的善良孩子。他並不是寫信指責他們做錯了什麽，而是嘗試讓他們瞭解Marco是一個怎樣的孩子，因為他們從來都沒有機會認識Marco。Paul所希望的是，當他們真的瞭解後可以明白Marco所真正需要的是什麽。雖已然沒有什麽能再為Marco做的了，但至少在以後，當再次出現類似的Case，能請寬容對待。
這就是導演的魅力之處，也是最最成功之處。那些反面的角色不是叫人來憎恨的，而是叫人來反思的。
我很感激導演在這部電影上花的所有一切心血，雖然身為商業片但導演非常成功傳遞了他所想要帶給觀眾們明確的信息。
最後，我想分享一下對「And Day Now」 這個名字的看法：
"Any Day" 在我們平凡生活里的每一天，都會有無數向Marco這樣的人身處在我們彼此的身邊。而"Now"，此刻的你能為他們做的或許看似微小，但對於他們卻是最大的，最為珍貴的。
台詞精髓：
At the court， Paul say：『This hearing is about Marco. who at this very moment is sitting in some foster home. and who will sit in some foster home forever. because no one want to adopt him. No one wants to adopt some short, fat, mentally handicapped kid. No one in this entire world wants him...except us. We want him. We love him. We'll take care of him and educate him, keep him safe and raise him to be a good man. Isn't that what he deserves? Isn't that what every child deserves?』
http://blog.qooza.hk/chenfeng
2 ) 每一個當下，就是讓愛展現活出的此刻。
「馬可並不想要老媽是毒蟲
並不想要異于常人
他並不想要這一切
我不懂為何他沒犯錯卻被懲罰」
改編自真人實事。七零年代的洛杉磯，一個歌喉迷人、熟辣世事、卻又無比可愛的扮裝皇后，和外表一本正經、尋找自我價值的檢察官，這樣一對一見鍾情的男同志伴侶，如何與沒有受到恰當照顧的唐氏症孩子馬可，一起為愛奮戰的故事。
飾演扮裝皇后的 Alan Cumming，很多拉子對他並不陌生，因為他在 Gray Matters 和 the L word 中，都有演出（相信男同志有更多精彩地如數家珍）。至今他擁著 Heather Graham，在頂樓安慰她、泡一杯祕方熱飲給她的溫暖，還留存在記憶中。演繹體貼入心的角色，或者說他本人時常散發著如許迷人的氣質，就像呼吸空氣般自然。
片中，他把扮裝皇后所經歷過的風塵與黠慧，透過一首首美麗憂傷的歌，讓人沈醉再三，是硬性的法律奮鬥之外，動人的註腳與停格。
也是這樣的角色——當歧視與生計的困難，每天如影隨形，無時無刻把人訓練成生活的鬥士——他與馬可的互動和相互映照，的確不需要太多言語，「愛」說明了一切，而上面那段引文也正是彼此生命的寫照。
只是自己沒有準備好面對結局。映照到台灣此刻正在爭取同志婚姻合法化的此刻，讓人心酸也憤怒，因為法律身份牽扯到太多相愛之人的生活，甚至沒有這層身份保障往往就是悲劇的開始，只是它們隱沒在生活的瑣碎細節之中，散落在非異性戀族群的身上，多少血淚離合⋯⋯。
Any Day Now，每一個當下，就是讓愛展現活出的此刻。不要再有遺憾。
並不想要異于常人
他並不想要這一切
我不懂為何他沒犯錯卻被懲罰」
改編自真人實事。七零年代的洛杉磯，一個歌喉迷人、熟辣世事、卻又無比可愛的扮裝皇后，和外表一本正經、尋找自我價值的檢察官，這樣一對一見鍾情的男同志伴侶，如何與沒有受到恰當照顧的唐氏症孩子馬可，一起為愛奮戰的故事。
飾演扮裝皇后的 Alan Cumming，很多拉子對他並不陌生，因為他在 Gray Matters 和 the L word 中，都有演出（相信男同志有更多精彩地如數家珍）。至今他擁著 Heather Graham，在頂樓安慰她、泡一杯祕方熱飲給她的溫暖，還留存在記憶中。演繹體貼入心的角色，或者說他本人時常散發著如許迷人的氣質，就像呼吸空氣般自然。
片中，他把扮裝皇后所經歷過的風塵與黠慧，透過一首首美麗憂傷的歌，讓人沈醉再三，是硬性的法律奮鬥之外，動人的註腳與停格。
也是這樣的角色——當歧視與生計的困難，每天如影隨形，無時無刻把人訓練成生活的鬥士——他與馬可的互動和相互映照，的確不需要太多言語，「愛」說明了一切，而上面那段引文也正是彼此生命的寫照。
只是自己沒有準備好面對結局。映照到台灣此刻正在爭取同志婚姻合法化的此刻，讓人心酸也憤怒，因為法律身份牽扯到太多相愛之人的生活，甚至沒有這層身份保障往往就是悲劇的開始，只是它們隱沒在生活的瑣碎細節之中，散落在非異性戀族群的身上，多少血淚離合⋯⋯。
Any Day Now，每一個當下，就是讓愛展現活出的此刻。不要再有遺憾。
3 ) advocate.com: Alan Cumming Has Never Been Better
Alan Cumming Has Never Been Better
The story of Any Day Now may take place in the past, but the discrimination against same-sex families it depicts is unfortunately still all too real.
BY DIANE ANDERSON-MINSHALL JANUARY 04 2013 5:00 AM ET
George Arthur Bloom lived in Brooklyn in the late 1970s, back when it was a rough-and-tumble area. He was inspired by a larger-than-life character everyone seemed to know, Rudy, who developed a fatherly relationship with, as filmmaker Travis Fine puts it, a “kid who was terribly handicapped, both mentally and physically” and whose mother was a drug addict. Bloom turned Rudy’s real-life experience into a screenplay, which almost got filmed several times during the ensuing years (at one point Tommy Lee Jones and Sylvester Stallone were attached to it). Then it went nowhere, Bloom gave up, and it sat in a drawer until his son, an old high school friend of Fine’s, showed the director the script.
The movie that came of it, Any Day Now, which hit theaters this winter and garnered awards on the festival circuit, follows The Good Wife’s Alan Cumming as Rudy, Raising Hope’s Garret Dillahunt as Paul, the closeted attorney who becomes his partner, and Isaac Leyva as Marco, a teen with Down syndrome who’s abandoned by his mother and taken in by the men. They all must fight a biased legal system so the couple can adopt Isaac, a heart-wrenching storyline that will resonate with many of the 2 to 6 million LGBT people who say they’d like to adopt.
“The story of Any Day Now may take place in the past, but the discrimination against same-sex families it depicts is unfortunately still all too real in some parts of our country,” says GLAAD president Herndon Graddick.
It’s real too for kids like Marco. As of 2011 there were 104,236 children in foster care awaiting adoption, many of them considered special-needs children because they are black or Latino, are older than infants, or have some form of mental or physical disability. “What the film’s remarkable performances and eloquent script reveal, though, is how unjust and hurtful to same-sex couples and children that discrimination really is,” Graddick adds.
Cumming, whose performance is riveting and one of his most inspired, talks about making the film.
I found Any Day Now just completely absorbing and really moving. And I notice people just seem to really have a gut reaction to the film. Why do you think it reaches people that way?
I think that we see the story of people who are damaged and devastated by bigotry and prejudice and ignorance. And we understand how wrong that is because we’ve invested in these characters and we want them to be together. And then I think in a larger way, we know that the reason that happened is because that bigotry and that prejudice still exist in our society. And I think we are so moved by it because we know that we are complicit in that because we are all members of that society.
This is a story about many things — about family, the foster care system, and coming out, but at the heart of it, it’s a love story between your free-spirited Rudy and Garret’s buttoned-down, closeted Paul. How did you develop the sort of chemistry that viewers see between you and Garret on-screen?
We just had to fake it, because we didn’t know each other. It was very well-written. and obviously Garret is a really brilliant actor and we luckily felt very comfortable with each other and got on. And I think that’s half of it. Once you feel comfortable with someone you can just dive in. But you’d imagine we’d have lots of time to talk and get comfortable with each other. No, we were practically in bed on the first day.
One of the other parts of the film that we don’t see a lot of — but is so true — is that there’s so much difficulty over same-sex couples trying to adopt. But the reality is there are a ton of children and teenagers, especially with physical or mental disabilities, that will just languish in the system.
Absolutely right. And that to me is the biggest idea—because everyone falls in love with Isaac. Garret says at one point, “I’m just hoping that this child doesn’t slip through the cracks in the system,” and sadly he does.
Tell me about working with Isaac.
Oh, it was great. I loved it. I mean people think…you’re going to make a movie with someone who has a learning disability, what’s that going to mean? I had no idea. But I just went into it…with an open heart. And he was just an absolute darling and so lovely.… He’s got kind of openness to him and…he’s not at all jaded. Everything there’s pure, and it kind of reminded me of what acting should be like. Everything’s really on the surface and completely authentic.
That's great. You have some scenes of just real heartbreak and anguish. Was there anything in your own life that you could call on to sort of nail those scenes? To inspire?
Well, yes. I have had heartbreak and anguish in my life. That's not difficult for me to access.
So, ten years ago, we used to ask straight actors if they had any hesitation about playing a gay role. Now it's more common to ask gay actors if they worry about being pigeonholed. This is certainly not your first gay role, but do you ever worry about that?
No, I actually don't. I mean, [I'm] playing a straight man on TV every Monday. I just don't deal with that. I mean, I've played gay people, but I don't know the percentage. I just I don't think much in that way, you know. I don't correlate it in that way.
But I'm drawn to the stories and the character's heart, you know. And perhaps because… I'm comfortable with it, I'm likely to be offered things, I could see people know that I would be more ready to be comfortable with doing it. But I don't worry at all. I'm not really a worrier. I refuse.
That's great. So assuming they met somehow, what would Rudy think about Eli, your character on Good Wife?
I think… in terms of the story, I think he'd probably try to see what he could do to help his situation. I think probably they might lock horns a little bit initially because they're both quite sensitive types. But I imagine that, you know, they might get on eventually because they look so alike. That was a joke.
What’s the most critical thing for you to get across with this film? What do you want people to take away from it?
I want people to…have a real emotional experience and an emotional connection. But really…I want people to go away and think, Wow, look at the effect of prejudice and ignorance and bigotry, and look at how much our society is still engendering and encouraging that.
Speaking of, you and your husband, Grant, got married earlier this year in New York. What are your thoughts on the recent marriage equality successes?
I think it’s great that we have a president who is very vocal in his support of equality and gay rights. I think the last election is really exciting in that it showed that the country was rejecting all that sort of prejudice and fear-based prejudice. We’re still the second-class citizens. And people still can be fired for being gay and people are gay-bashed.… So, you know, I don’t mean to be ungrateful but I don’t see why I should be so grateful for my rights. I think that’s what we should all remember.
I have one last question. You have a book coming out in 2013: May the Foreskin Be With You. I read a little excerpt from it and it made me want to ask, what made you want to talk so intimately about your penis and other people's penises?
Because I was shocked when I first came to America, [and] I realized that the people who were seeing my penis were so utterly ignorant of what a real penis — a normal, intact penis —looks like. I thought, God, I'm here, I'm in New York City, this progressive, cultural, melting-pot of the world, and these people don't realize that they are genitally mutilated as children. And that was really what got me going, I was like, this is how it's supposed to be.
And then I've [found] out more about it, and saw all the things about lack of sensation that people have, and I became aware of that because you just are aware that people with their circumcised penises are less sensitive. And so it just became a cause for me, really.
And then of course you find out all these things about how the circumcisions can go so horribly wrong, and how these poor kids have terrible, terrible things happen. I've been in situations where I've been in a car, and me and an interviewer are talking about the book or other things, and the driver will go, "I heard you speaking and you know, my circumcision went wrong and I… pee out of two holes."
And I think it's this unspoken thing, of men, that don't want to talk about it and they certainly don't want to be told something that irretrievable, irreversible. It's so wrong and they're losing so much. Also, it's fighting the medical system that [doesn't want to] admit they're wrong, and they don't want to lose the money that every circumcision brings them.
To me, it seems to me this huge conspiracy. And actually … if it was girl circumcision, I mean female genital mutilation, we would be horrified about it. And we are, when it happens.
Yes, [female circumcision] is illegal here, yeah.
Yes, so why is it? If anything happens to thousands of little boys and we think that's okay.
Yeah. And there always seems to be the excuse that a boy's penis should look like his father's. I hear that again and again.
To which I think, do you go home get your cocker in front of your dad? I didn't. Is that an American custom? Because I don't think that's right, if it is.
-------------------------------------------------------------------------------------
Dillahunt, who plays the often clueless but nonetheless progressive and lovable Burt Chance on Raising Hope, isn't new to playing gay and bisexual characters. But this film, he says, is special. He tells us why.
I found Any Day Now completely absorbing and really moving and viewers seem to have a real, visceral reaction to the film. Why do you think that is?
I guess, hopefully, they find it honest and relatable. I think, despite the specific circumstances these characters are going through, there's a lot of common ground.
This is a story about family, the foster care system, disability, coming out and so on. But at the heart it’s a love story between your button down closeted character, Paul, and Alan Cumming’s free-spirited drag performer, Rudy. What was most critical to you to get across in the film?
That these were living, breathing human beings. The whole thing will fall apart, obviously, if the audience doesn't believe the love between these two, seemingly, opposites.
Ten years ago, we used to ask straight actors if they had any hesitation about playing a gay role but not so much any more. So I’m wondering what made you want to take on this role?
I just thought it was a challenge. I like mixing it up as much as I can, and Paul was much different from the previous character I'd played, and I thought it would be fun to tackle. The icing on the cake is that it's a beautiful story with themes that are, sadly, still resonant today. Who wouldn't want to be a part of that?
I love that while Paul is really navigating new territory as a gay or bisexual man, the film certainly isn’t just a traditional coming out narrative. There’s no big “I am gay” scene, for example. Was there sort of awareness that Paul’s coming out was almost secondary to what was happening with Marco?
Yes. I think the center of this story is Marco. Rudy is an incredibly tough guy — he's a drag queen in the '70s, for Christ's sake. It is almost unsurprising that he would take Marco under his wing. I think his comfort as a gay man is something Paul envies. Probably one of the things that attracts him to Rudy, this unapologetic "gayness" and willingness to fight — it brings out Paul's quieter strength. And the catalyst is this boy.
It’s hard not to think this film as a modern Kramer vs Kramer. Dustin Hoffman’s character loses his job to care for the kid; Rudy does the same. Hoffman and Streep go to court to battle for custody; Paul and Rudy do the same. Though it’s set in the 1970s, the storyline feels particularly timely as Kramer did when it came out. What do you think of comparisons like that?
I don't mind them. I suppose they're going to happen however I feel about it.
My sister-in-law has Down syndrome so it was lovely to see a storyline about a teen with Down syndrome. Tell me about working with Isaac, who plans Marco in the film.
Isaac was terrific. He was excited and joyful, prepared, and serious. He'd shush Alan and I if we were too goofy when Travis was about to call "action." He gives great hugs and listens — which makes him a great actor. He really reminded me why I do this, and how I should do this. He shamed me, truthfully. And I am so grateful.
What about working with Alan. How did you develop enough trust to connect so easily in the film? You have great chemistry.
We got on well, didn't we? We seem like a couple. I wish I had a great story to tell you — some incredible bonding experience or conversation we had prior to filming that clicked everything into place. But we didn't have time for that. We met at the wig fitting and got to work. I guess we're professionals! Sometimes it's easy, though. Alan is real easy to act with. We share a belief, I think, that if you're not having fun, why do it? And it is fun, no matter how harrowing the scene, when it works. And with Alan, it works every time. Heh, he'll love that quote.
http://www.advocate.com/print-issue/current-issue/2013/01/04/alan-cumming-has-never-been-better
http://www.advocate.com/arts-entertainment/film/2012/12/13/garret-dillahunt-tackles-gay-adoption-any-day-now
The story of Any Day Now may take place in the past, but the discrimination against same-sex families it depicts is unfortunately still all too real.
BY DIANE ANDERSON-MINSHALL JANUARY 04 2013 5:00 AM ET
George Arthur Bloom lived in Brooklyn in the late 1970s, back when it was a rough-and-tumble area. He was inspired by a larger-than-life character everyone seemed to know, Rudy, who developed a fatherly relationship with, as filmmaker Travis Fine puts it, a “kid who was terribly handicapped, both mentally and physically” and whose mother was a drug addict. Bloom turned Rudy’s real-life experience into a screenplay, which almost got filmed several times during the ensuing years (at one point Tommy Lee Jones and Sylvester Stallone were attached to it). Then it went nowhere, Bloom gave up, and it sat in a drawer until his son, an old high school friend of Fine’s, showed the director the script.
The movie that came of it, Any Day Now, which hit theaters this winter and garnered awards on the festival circuit, follows The Good Wife’s Alan Cumming as Rudy, Raising Hope’s Garret Dillahunt as Paul, the closeted attorney who becomes his partner, and Isaac Leyva as Marco, a teen with Down syndrome who’s abandoned by his mother and taken in by the men. They all must fight a biased legal system so the couple can adopt Isaac, a heart-wrenching storyline that will resonate with many of the 2 to 6 million LGBT people who say they’d like to adopt.
“The story of Any Day Now may take place in the past, but the discrimination against same-sex families it depicts is unfortunately still all too real in some parts of our country,” says GLAAD president Herndon Graddick.
It’s real too for kids like Marco. As of 2011 there were 104,236 children in foster care awaiting adoption, many of them considered special-needs children because they are black or Latino, are older than infants, or have some form of mental or physical disability. “What the film’s remarkable performances and eloquent script reveal, though, is how unjust and hurtful to same-sex couples and children that discrimination really is,” Graddick adds.
Cumming, whose performance is riveting and one of his most inspired, talks about making the film.
I found Any Day Now just completely absorbing and really moving. And I notice people just seem to really have a gut reaction to the film. Why do you think it reaches people that way?
I think that we see the story of people who are damaged and devastated by bigotry and prejudice and ignorance. And we understand how wrong that is because we’ve invested in these characters and we want them to be together. And then I think in a larger way, we know that the reason that happened is because that bigotry and that prejudice still exist in our society. And I think we are so moved by it because we know that we are complicit in that because we are all members of that society.
This is a story about many things — about family, the foster care system, and coming out, but at the heart of it, it’s a love story between your free-spirited Rudy and Garret’s buttoned-down, closeted Paul. How did you develop the sort of chemistry that viewers see between you and Garret on-screen?
We just had to fake it, because we didn’t know each other. It was very well-written. and obviously Garret is a really brilliant actor and we luckily felt very comfortable with each other and got on. And I think that’s half of it. Once you feel comfortable with someone you can just dive in. But you’d imagine we’d have lots of time to talk and get comfortable with each other. No, we were practically in bed on the first day.
One of the other parts of the film that we don’t see a lot of — but is so true — is that there’s so much difficulty over same-sex couples trying to adopt. But the reality is there are a ton of children and teenagers, especially with physical or mental disabilities, that will just languish in the system.
Absolutely right. And that to me is the biggest idea—because everyone falls in love with Isaac. Garret says at one point, “I’m just hoping that this child doesn’t slip through the cracks in the system,” and sadly he does.
Tell me about working with Isaac.
Oh, it was great. I loved it. I mean people think…you’re going to make a movie with someone who has a learning disability, what’s that going to mean? I had no idea. But I just went into it…with an open heart. And he was just an absolute darling and so lovely.… He’s got kind of openness to him and…he’s not at all jaded. Everything there’s pure, and it kind of reminded me of what acting should be like. Everything’s really on the surface and completely authentic.
That's great. You have some scenes of just real heartbreak and anguish. Was there anything in your own life that you could call on to sort of nail those scenes? To inspire?
Well, yes. I have had heartbreak and anguish in my life. That's not difficult for me to access.
So, ten years ago, we used to ask straight actors if they had any hesitation about playing a gay role. Now it's more common to ask gay actors if they worry about being pigeonholed. This is certainly not your first gay role, but do you ever worry about that?
No, I actually don't. I mean, [I'm] playing a straight man on TV every Monday. I just don't deal with that. I mean, I've played gay people, but I don't know the percentage. I just I don't think much in that way, you know. I don't correlate it in that way.
But I'm drawn to the stories and the character's heart, you know. And perhaps because… I'm comfortable with it, I'm likely to be offered things, I could see people know that I would be more ready to be comfortable with doing it. But I don't worry at all. I'm not really a worrier. I refuse.
That's great. So assuming they met somehow, what would Rudy think about Eli, your character on Good Wife?
I think… in terms of the story, I think he'd probably try to see what he could do to help his situation. I think probably they might lock horns a little bit initially because they're both quite sensitive types. But I imagine that, you know, they might get on eventually because they look so alike. That was a joke.
What’s the most critical thing for you to get across with this film? What do you want people to take away from it?
I want people to…have a real emotional experience and an emotional connection. But really…I want people to go away and think, Wow, look at the effect of prejudice and ignorance and bigotry, and look at how much our society is still engendering and encouraging that.
Speaking of, you and your husband, Grant, got married earlier this year in New York. What are your thoughts on the recent marriage equality successes?
I think it’s great that we have a president who is very vocal in his support of equality and gay rights. I think the last election is really exciting in that it showed that the country was rejecting all that sort of prejudice and fear-based prejudice. We’re still the second-class citizens. And people still can be fired for being gay and people are gay-bashed.… So, you know, I don’t mean to be ungrateful but I don’t see why I should be so grateful for my rights. I think that’s what we should all remember.
I have one last question. You have a book coming out in 2013: May the Foreskin Be With You. I read a little excerpt from it and it made me want to ask, what made you want to talk so intimately about your penis and other people's penises?
Because I was shocked when I first came to America, [and] I realized that the people who were seeing my penis were so utterly ignorant of what a real penis — a normal, intact penis —looks like. I thought, God, I'm here, I'm in New York City, this progressive, cultural, melting-pot of the world, and these people don't realize that they are genitally mutilated as children. And that was really what got me going, I was like, this is how it's supposed to be.
And then I've [found] out more about it, and saw all the things about lack of sensation that people have, and I became aware of that because you just are aware that people with their circumcised penises are less sensitive. And so it just became a cause for me, really.
And then of course you find out all these things about how the circumcisions can go so horribly wrong, and how these poor kids have terrible, terrible things happen. I've been in situations where I've been in a car, and me and an interviewer are talking about the book or other things, and the driver will go, "I heard you speaking and you know, my circumcision went wrong and I… pee out of two holes."
And I think it's this unspoken thing, of men, that don't want to talk about it and they certainly don't want to be told something that irretrievable, irreversible. It's so wrong and they're losing so much. Also, it's fighting the medical system that [doesn't want to] admit they're wrong, and they don't want to lose the money that every circumcision brings them.
To me, it seems to me this huge conspiracy. And actually … if it was girl circumcision, I mean female genital mutilation, we would be horrified about it. And we are, when it happens.
Yes, [female circumcision] is illegal here, yeah.
Yes, so why is it? If anything happens to thousands of little boys and we think that's okay.
Yeah. And there always seems to be the excuse that a boy's penis should look like his father's. I hear that again and again.
To which I think, do you go home get your cocker in front of your dad? I didn't. Is that an American custom? Because I don't think that's right, if it is.
-------------------------------------------------------------------------------------
Dillahunt, who plays the often clueless but nonetheless progressive and lovable Burt Chance on Raising Hope, isn't new to playing gay and bisexual characters. But this film, he says, is special. He tells us why.
I found Any Day Now completely absorbing and really moving and viewers seem to have a real, visceral reaction to the film. Why do you think that is?
I guess, hopefully, they find it honest and relatable. I think, despite the specific circumstances these characters are going through, there's a lot of common ground.
This is a story about family, the foster care system, disability, coming out and so on. But at the heart it’s a love story between your button down closeted character, Paul, and Alan Cumming’s free-spirited drag performer, Rudy. What was most critical to you to get across in the film?
That these were living, breathing human beings. The whole thing will fall apart, obviously, if the audience doesn't believe the love between these two, seemingly, opposites.
Ten years ago, we used to ask straight actors if they had any hesitation about playing a gay role but not so much any more. So I’m wondering what made you want to take on this role?
I just thought it was a challenge. I like mixing it up as much as I can, and Paul was much different from the previous character I'd played, and I thought it would be fun to tackle. The icing on the cake is that it's a beautiful story with themes that are, sadly, still resonant today. Who wouldn't want to be a part of that?
I love that while Paul is really navigating new territory as a gay or bisexual man, the film certainly isn’t just a traditional coming out narrative. There’s no big “I am gay” scene, for example. Was there sort of awareness that Paul’s coming out was almost secondary to what was happening with Marco?
Yes. I think the center of this story is Marco. Rudy is an incredibly tough guy — he's a drag queen in the '70s, for Christ's sake. It is almost unsurprising that he would take Marco under his wing. I think his comfort as a gay man is something Paul envies. Probably one of the things that attracts him to Rudy, this unapologetic "gayness" and willingness to fight — it brings out Paul's quieter strength. And the catalyst is this boy.
It’s hard not to think this film as a modern Kramer vs Kramer. Dustin Hoffman’s character loses his job to care for the kid; Rudy does the same. Hoffman and Streep go to court to battle for custody; Paul and Rudy do the same. Though it’s set in the 1970s, the storyline feels particularly timely as Kramer did when it came out. What do you think of comparisons like that?
I don't mind them. I suppose they're going to happen however I feel about it.
My sister-in-law has Down syndrome so it was lovely to see a storyline about a teen with Down syndrome. Tell me about working with Isaac, who plans Marco in the film.
Isaac was terrific. He was excited and joyful, prepared, and serious. He'd shush Alan and I if we were too goofy when Travis was about to call "action." He gives great hugs and listens — which makes him a great actor. He really reminded me why I do this, and how I should do this. He shamed me, truthfully. And I am so grateful.
What about working with Alan. How did you develop enough trust to connect so easily in the film? You have great chemistry.
We got on well, didn't we? We seem like a couple. I wish I had a great story to tell you — some incredible bonding experience or conversation we had prior to filming that clicked everything into place. But we didn't have time for that. We met at the wig fitting and got to work. I guess we're professionals! Sometimes it's easy, though. Alan is real easy to act with. We share a belief, I think, that if you're not having fun, why do it? And it is fun, no matter how harrowing the scene, when it works. And with Alan, it works every time. Heh, he'll love that quote.
http://www.advocate.com/print-issue/current-issue/2013/01/04/alan-cumming-has-never-been-better
http://www.advocate.com/arts-entertainment/film/2012/12/13/garret-dillahunt-tackles-gay-adoption-any-day-now
4 ) 愿爱长久
看电影的时候总希望一个好的结尾，就像Marco总是希望the boy with magic可以有一个happy ending一样。这是1979年的加州，但这依然是现在的社会。
There’s no true justice, but we still have to fight for what we consider right.
看上去越痞的人也许心底越善良，拥有光鲜亮丽职业的人也许最不敢去斗争。
悲哀的不是逝去的生命，悲哀的是苟且活在世上的人们。
电影源自生活而高于生活，这是根据真人真事改编的，那么又有多少我们看不见的这样的故事在发生与上演？
This is not discrimination. This is reality.
也许听到这句话的时候我们就应该预见结局。和妈妈一起看的这部电影，她也为之动容，却依旧不能理解同性恋人。
然而我依然相信每个孩子都是上天赐予人间的礼物，他们不应该受到如此责罚，他们却用自己的笑容点亮人心，用自己的离去留下教训。
Rest in peace, dear Marco. Hope you can hear the singing from papa in heaven.
There’s no true justice, but we still have to fight for what we consider right.
看上去越痞的人也许心底越善良，拥有光鲜亮丽职业的人也许最不敢去斗争。
悲哀的不是逝去的生命，悲哀的是苟且活在世上的人们。
电影源自生活而高于生活，这是根据真人真事改编的，那么又有多少我们看不见的这样的故事在发生与上演？
This is not discrimination. This is reality.
也许听到这句话的时候我们就应该预见结局。和妈妈一起看的这部电影，她也为之动容，却依旧不能理解同性恋人。
然而我依然相信每个孩子都是上天赐予人间的礼物，他们不应该受到如此责罚，他们却用自己的笑容点亮人心，用自己的离去留下教训。
Rest in peace, dear Marco. Hope you can hear the singing from papa in heaven.
5 ) 爱的无限性
电影从一个弱智男孩的背影开始，结束于这个弱智男孩的背影。所不同的，只是，这个男孩他多了一副眼镜。 又矮又胖的唐氏综合症男孩，一个人紧紧抱着金色头发的洋娃娃走在深夜的街头，街头很冷，四处的光凝成光晕，成为镜头中的闪烁的背景。没有人知道，这是一个迷失的男孩，他找不到家，找不到方向。他走过无人的天桥，他走过无人的街道，他走过的无人的酒吧门口，没有人会注意到这个男孩，更不会有人知道他的名字叫：马可。 马可，是一个无人收养的男孩，连他的亲生母亲都整日在吸毒中浑浑噩噩度过。他金色头发的洋娃娃被脾气不好的母亲丢在走廊上，马可没有得到爱，可是他并没有任何错。 只有一个人，一个男人不小心闯入了马可的生活，他是鲁迪。鲁迪是个可爱的男人，他有迷人的微笑，在一家同志夜总会用同声假唱做歌手，我挺喜欢他唱的那些性感的歌曲。鲁迪在夜总会认识了保罗，一个外表运动且阳光的律师。两人是一见钟情。 我一直很羡慕同志恋人之间的感情，很多时候，我私下里认为同志之间的依恋和相互珍惜远远超过异性恋人。为什么呢？因为异性恋人如果分手，总是很快就会有其他的选择。但对于同性恋人来人，一旦分手，要想重新找个爱人真的很不容易。社会的偏见与压力就足以让两个相爱的人窒息，还有，你喜欢的类型，你能保证下个他也是同志吗？我很敬佩所有出柜的同性恋人，他们以自己的态度向身边的亲人直接表达自己的性取向，敢于承认自己，就是给爱的人一个最好的回报。 我始终认为，真爱一个人，就要给对方一个家。马可和保罗他们相互做到了，他们不仅深深的真诚的爱着对方，还给男孩马可一个家。这是个很特殊的家庭，马可有两个可爱的爸爸，他们每天清晨为马可做早餐，马可喜欢吃巧克力甜甜圈，他们就为他准备很多很多。马可喜欢晚上有人给他讲有幸福结尾的故事，鲁迪就在编魔法男孩的故事讲给马可听，直到马可甜甜的睡去。 马可是怎么认识鲁迪的呢？马可是鲁迪的邻居，马可的洋娃娃被痛恨他活着的母亲扔出门外，而她自己却因为携带毒品而被关押。好心的鲁迪回家不忍心看到洋娃娃丢弃在地上，敲门要还给失去洋娃娃的孩子。可是开门后是怎样情景？嘈杂的音乐声轰隆隆的响着，女人和男人烟雾缭绕的吸毒。一个胖胖的男孩，无助地躲在墙角。 女人接过洋娃娃马上关了门，不幸的是第二天，这个女人就消失了。当鲁迪怒气冲冲地想要问邻居一大早为什么大开着音响时，房间里却只剩下这个怯生生的马可。不一会，州福利院的人连推带拉地想要将马可带走，原因是，马可的母亲被关押了。 好了，马可的陷入了困境中，他没有任何的错，却要被生活无情地推向另一边。鲁迪，一个靠着在夜总会卖唱，每月几乎交不起房租的男人，他站出来拉着马可的手，说，跟我走。 鲁迪无奈，只有找到刚认识的情人保罗。保罗刚开始不愿意帮助，后来他看到了鲁迪的真心，他善良并且真诚。这比他迷人的笑容更能打动保罗的心。保罗决定帮助鲁迪，两人一起收养马可。 可以说，马可的十五岁那年过得很幸福，他受到教育，即便智障，他也有权力受到好的教育。他们去海边，一起看大海，他们一起过生日，他们一起玩，像真正的一家人那样生活，鲁迪是妈妈，保罗是爸爸。可是，好景不长，保罗的上司告发了他们收养马可时的伪证，马可重新被送回福利院，过着艰难的日子。马可等着鲁迪的电话，鲁迪在电话中承诺他，一定会来接他。结果，官司打输了，马可的妈妈重新要回了儿子的抚养权。这样，就出现了最开始的一幕，马可一个人流落街头，无人知晓。 三天后，马可死在了天桥下。 爱一个人，就是要给对方一个家，给对方一个安稳的心灵栖息地，爱一个人，就是为让他感觉骄傲，世界处处都动人。爱即是成全，又是付出，是希望天天看到对方开心的笑，看到对方的优点，一个残缺的孩子，鲁迪和保罗都能看到他身上闪亮的地方，爱，又何处不在呢？ 同样的，保罗与鲁迪的相爱，不是因为相貌，不是因为身世，不是因为背景，仅仅是爱，是爱情本身。保罗为了成全鲁迪，鲁迪的好嗓子，他为鲁迪买了录音机，然后出钱让鲁迪灌制自己的唱片，然后找到更好的演出场所。保罗为了成全鲁迪，将鲁迪和马可从昏暗狭小的公寓中接出来，接到自己的家中。保罗为了成全鲁迪，他心甘情愿地接受了马可，带马可看医生，带马可出去玩。 最后，我愿用鲁迪的歌声结束。“每一个置我于此情此景的男人，我看到我的光芒开始闪亮，从西方照到东方，任何一刻，若是此时，我将被释放。他们说，他们说，每个男人都会沦陷，我发誓，我看到了我的投影，远远不止这些墙，没错，我看到我的光芒闪亮，从西方照到东方。我的上帝，任何一刻，若是此时，我将被释放。”
6 ) It's not your business
Any Day Now，2012年美国出品，83分。
一开始简直象童话，变装王后歌手鲁迪在同性恋吧闪闪发光性感出场，正统好男人律师保罗对他一见钟情，而鲁迪好心收留了隔壁嗑药女的唐氏患儿马可，三个人从此幸福地生活在一起，如果就在这欢乐结局嘎然而止多好！可生活远远不是童话，哪怕已经配备了鲁迪不羁之善良自尊，专业精良的律师爱人保罗，马可的纯真笑容，相对公平的美国司法系统。一切敌不过同性恋歧视，人言可畏，围绕着马可的监护权的法庭辩论，就是一场狗屎，因为压根就是同性恋是否正常的辩论。无视鲁迪和保罗多么有爱，无视他们监护一年之中给予马可的温暖和家，无视马可多么想要回到他们身边，无视证人给予这对家长客观积极的评价，最后让孩子回归被提前假释的瘾君子妈妈那里，在又一次毒瘾发作鬼混之际，孩子离家而走最终孤独死于街头。很现实，世界上的正义不是总能得到支持，生而为人，生而平等，可写进宪法也没用，同性恋者在人类历史中经过了那么多屈辱的年代，并仍将屈辱很长时间，说到底，一个人的性取向关卿毛事啊？！
鲁迪显然非主流边缘人士，没钱没地位，可他第一次冲进地区检察署面对保罗的那种凛然自尊让人鼓掌，毅然决然做出收养马可的决定不是一时之举，人生际遇颠沛流离堪称放浪不羁，可又怎样？！照样富有魅力歌声迷人照样值得爱会爱勇往向前。看到他一出场我不禁张大了嘴，这演员不是傲骨贤妻里那个长袖善舞八面玲珑的智囊？这个角色显然赋予Alan Cumming更多的表演空间。演律师的那个好像现实生活里我熟悉的那位，正统至极低调谦虚。15岁的小演员就是一个唐氏患儿，本色表演出色。
这是一个温情脉脉又不无伤痛的故事，爱若此时。
一开始简直象童话，变装王后歌手鲁迪在同性恋吧闪闪发光性感出场，正统好男人律师保罗对他一见钟情，而鲁迪好心收留了隔壁嗑药女的唐氏患儿马可，三个人从此幸福地生活在一起，如果就在这欢乐结局嘎然而止多好！可生活远远不是童话，哪怕已经配备了鲁迪不羁之善良自尊，专业精良的律师爱人保罗，马可的纯真笑容，相对公平的美国司法系统。一切敌不过同性恋歧视，人言可畏，围绕着马可的监护权的法庭辩论，就是一场狗屎，因为压根就是同性恋是否正常的辩论。无视鲁迪和保罗多么有爱，无视他们监护一年之中给予马可的温暖和家，无视马可多么想要回到他们身边，无视证人给予这对家长客观积极的评价，最后让孩子回归被提前假释的瘾君子妈妈那里，在又一次毒瘾发作鬼混之际，孩子离家而走最终孤独死于街头。很现实，世界上的正义不是总能得到支持，生而为人，生而平等，可写进宪法也没用，同性恋者在人类历史中经过了那么多屈辱的年代，并仍将屈辱很长时间，说到底，一个人的性取向关卿毛事啊？！
鲁迪显然非主流边缘人士，没钱没地位，可他第一次冲进地区检察署面对保罗的那种凛然自尊让人鼓掌，毅然决然做出收养马可的决定不是一时之举，人生际遇颠沛流离堪称放浪不羁，可又怎样？！照样富有魅力歌声迷人照样值得爱会爱勇往向前。看到他一出场我不禁张大了嘴，这演员不是傲骨贤妻里那个长袖善舞八面玲珑的智囊？这个角色显然赋予Alan Cumming更多的表演空间。演律师的那个好像现实生活里我熟悉的那位，正统至极低调谦虚。15岁的小演员就是一个唐氏患儿，本色表演出色。
这是一个温情脉脉又不无伤痛的故事，爱若此时。
7 ) 爱若此时
由美国导演特拉维斯·菲尼执导的《爱若此时》，荣获2012年度美国纽约贝翠卡影展观众票选最佳剧情片。类似于这类微澜不惊的小成本获奖影片，反而会有其特别之处，一般来说都会紧紧揪住影迷的心。
1979年加州好莱坞以西的一个偏僻街区，患唐氏综合症的小胖子马尔科就跟妈妈租住在一栋破楼里。不幸的是，这位妈妈非但不关爱儿子，还吸毒成瘾。本来就自闭的马尔科，只能眼巴巴地看着妈妈和着吵闹的迪斯科音乐疯舞着。噪声自然吵得每天半夜才能回来休息的鲁迪无法安睡。与马尔科隔邻的鲁迪是位音乐人，晚上在同性恋酒吧献唱。这夜来了一位看似正统的检察官兼律师保罗·佛雷格。他被鲁迪的卖力倾情的演唱风格所吸引。保罗因性取向已与妻子离婚。这让他与鲁迪走到了一起。但鲁迪的日子并不轻松，常被房东催要房租，日子过得极为拮据。
这天深夜，鲁迪回来却发现整个楼道异常的安静，于是他推开门，一看只有孤独无依的马尔科，正抱着布娃娃在发呆。原来马尔科那位毫无责任感的妈妈因毒品交易被警方刑拘。没有人照料的马尔科被鲁迪收留。不只是同情，还因为鲁迪特别喜欢他的憨态可掬又不失俏皮的样子。
这一夜马尔科睡得很香。早晨起来，马尔科要吃油炸圈饼，鲁迪跟他说这才是让他发胖的垃圾食品，可他偏要吃。患唐氏综合症的孩子，一般都比较固执，认准的就会一根筋，不知转向。也正如此，才会在某种能力上显得特别突出。无奈的鲁迪只得答应他下次去买油炸圈饼。这时，催要房租的房东发现了马尔科在鲁迪家里，就报了警。不容鲁迪阻拦，社区工作者立马过来就带走了马尔科。这让心有不甘的鲁迪气极又沮丧。他分明看到了马尔科不愿离开的乞求眼神。
已到社区收养中心的马尔科，整天闷闷不乐。晚上睡觉也极不习惯，深夜仍未安睡的他抱着布娃娃，悄悄出来，独自回到了鲁迪这里。心生欢喜的鲁迪，深知这是一个需要严肃对待的问题，何况以他现有条件，是无法独自解决这个大难题的。他想到了保罗。幸而有保罗的倾力相助，并从法律层面上出主意想办法——如果想收留马尔科，就需要他狱中的妈妈签字认可，这样，鲁迪才能做马尔科的临时合法监护人。鲁迪答应这位已被判了3年刑期妈妈，只要她刑期一满，马尔科就可随时送还给她。虽然她签了字，但法官还是质问鲁迪哪有房子供马尔科居住。鲁迪说我们都住在保罗家，因为我是保罗的表弟。将信将疑的法官还是签发了鲁迪作为马尔科临时监护人的决定。
来到保罗家，马尔科拥有在单独一间房，并得到了精心地照顾。三人皆大欢喜的一起生活，俨然其乐融融的一家人。马尔科每晚睡觉前，总要缠着鲁迪讲一段故事，哪怕现编也行，但要求结局绝对美好。整天露出笑脸的马尔科，满溢着幸福。如果马尔科就这样能安然地生活下去，他的安全感就会大大延伸，这对于治愈他的自闭倾向自然大有裨益。所谓助人悦己，鲁迪在酒吧献唱也格外卖力，他快乐地唱道：“当你的世界空虚和孤独的时候，来我这里；当你需要人拥抱的时候，来我这里。在我怀抱里，我会让你感觉到温暖和安全。我会在暴风雨中保护你，来我这里。你点了我灵魂中爱的火焰……”
天有不测风云，保罗的性取向被他的保守上司知道，警方带走了鲁迪。法官以他们当时收留马尔科隐瞒事实为由，解除了鲁迪与马尔科的合法监护关系，保罗也因此丢了工作。愤怒的鲁迪和保罗决定向现有法律和世俗偏见反击。但谈何容易。美国人常挂在嘴边讽刺那些不做事却专爱捣事的人——“天空不作为，突然下暴雨。”
法庭上，这些法官、检察官和律师，就是这样的人，虽然保罗和鲁迪据理力争，还请来了学校老师和社区工作者等具有良知的人，为他们的善行作证，但法官不预采纳。所有为马尔科正当的收留意见，最终都被这些搅局的人一一否决。根据检察官的建议：马尔科竟被判给已假释的妈妈。
这让鲁迪和保罗大为失望。但他们在严酷的法律面前又无能为力。回到妈妈身边的马尔科，结局可想而知。这位妈妈依然故我，对他不管不问。可怜的马尔科只得在一个沉寂的深夜外出，抱着被他称为艾希利的布娃娃。寂寥的大街，他不知往何方，他想去保罗的家，但他找不到，渐渐迷失了方向。
最后，保罗给这些捣事的人（所谓法律的维护者们）一一写了封信：“报上刊登了一条消息，这个消息很不起眼，说的是一个叫马尔科的男孩，离家出走3天后，发现死在一处立交桥下……他是一个贴心、有趣的好孩子，他拥有照亮整个房间的笑容，他能跳最棒的迪斯科舞，他喜欢垃圾食品，他喜欢听故事，只要这个故事有个欢乐的结局……”
他们会感到羞愧吗。也许。电影告诉我们：世俗偏见会比法律更冷酷。鲁迪和保罗只是想给马尔科一个“安全、舒适和爱”的家，让他能健康的成长。而马尔科只希望所有的故事都有一个欢乐而美好的结局。但现实中的马尔科却没能得到。拷问的该是世人的心，而非僵硬的法律。影片最后，鲁迪愤然地唱道：“所有的人，在某个特殊的时候，都可能需要安全，都可能需要保护，爱若此时，来我这里……”
影片直面揭示了个人和社会之间的有机联系。对别人的痛苦视而不见的人，想必总有一天或会落在自己身上。而那些所谓的法律维护者，却是真正践踏人权的人，他们所维护的，到头来其实只是他们丑陋的偏见和面子而已。正所谓陋习胜过一切敌人。
2013、5、17
8 ) 给我讲个故事吧，我喜欢喜剧收尾。
有时候偏爱这种淡淡的叙述的故事。被生活打动，有时候生活的简单在于即使被许多复杂因素干扰，仍能够知道自己想要什么。
马可喜欢Happy ending.所以也以为这个会有好的就结局。如果有相信的就去相信也并非盲目。
1.what u see is what you get.
这部电影里面，马可这个孩子真心很有感染力，看他笑就很开心，看他使着小性子想要甜甜圈也是真。每个人都有自己值得的美丽和欢乐。无论你的主观是否蒙蔽过你心你眼。可惜很多人还没有懂得这个道理。
在单身家庭，并有着瘾君子的母亲患着唐氏症，最后在疏忽的关爱里面走失死去，或显得太过凄凉，但是有时候，他也有过被亲吻得到额外幸运，“相信我，亲爱的，在这个疯狂的世界我们都需要一点点额外的幸运”，他得到并未尝失去，即使他可能不知道此后。
每一个孩子需要的除了一点点的幸运更多的应该是平常的爱护。我们看得到马可的母亲应该还是很爱自己的孩子，即使大多时候她的爱不算合格。但是问题就在于，很多人明知道自己应当承担的责任，却表示自己无能为力。这是完全怯懦的自私的表现。家庭的温暖和来自父母的爱不能算是额外的幸运，平常的意思就是指毫无疑问毫无悬念，如果有人要问“凭什么我要给予自己孩子、父母我的关怀爱护”，才是真正的不平常。
孩子敏感并有自己的情绪。当Marco在知道自己有一个家的时候，激动的哭；在合唱时候得到赞扬时自信的神情；等待被接回家时期许的凝望…都难以忽视。
“你们的所见即所得”医生说。一些与生俱来的感情在最原始的状态，是无关你爱护的事物能带给你什么的。太过纯粹的感情被人们遗忘的太多。即使可能会被人说太过理想化的想法，还是觉得纯粹的情愫就算可能带了许多附加条件使得我们认为其更加可爱，但只剩它本来的面目还是可爱的。无论马可是否能上大学，回报作为上大学取得的成就感（并非指大学本身是一个荣誉，而是孩子得到的努力的回报带来的骄傲），接受和包容、愿意付出一部分的自己来承担作为监护人的责任，还是让我觉得感动。
2.就像你无所畏惧
关于许多时候，双方陷入一段关系，例如两个同性别的人在一起，一方未出柜。在很多时候得不到被认可的地位，在一定场合遮遮掩掩其实是很心酸的一件事。被诘问“为什么不说出来不敢改变”，得到回答“你知道这样后果很严重，我会有很麻烦失去很多”。其实一直觉得体谅是相互的，但并非畏惧不前安于现状。敢于改变的预先得准备好面对的失去，并知道什么才是更可贵的，那么到了变化一刻也不会太手足无措。无论什么性别的个体都应当学会勇于承担。
3. “这不是歧视，这是现实”
持偏见的人并不意识到自己所做的事是充满了歧视的，就算他们努力秉持公正。例如法官们，从一开始的毫不犹豫地拒绝申请，即使被说服接受了，仍然在最后的审判中被并非品质的部分左右决定。但是其中有一部分的东西说明包容性的重要地位。就像老师。
但是受到歧视的人不能因为遭到习惯性对待，就认为自己理所应当被如此对待。Paul说“这不是歧视，这是现实”，事实上是对现实无奈的自我安慰，即使我也一度认为现实如此，被惯有存在同化，但是这的确是歧视。难道同性恋、异性恋、双性恋都是因为其伴侣的性别，而非自己作为人的个体来得到、行使自身平等的权利?难道是因为智力的高低而非个人的生命特征得到应有的生活权利?难道是因为财富的多少而非生而为人的热忱来决定生活的权利?固有看法并非是全对。你我既然存在，就不能屈服于“这是现实”。
也有这样的一部分人，会喜欢探寻别人的生活，然后伸手干预。例如地区检察官Wilson。他老是在不经意间试图窥视别人的生活，然后作出干预。如果他并非对同性恋抱有偏见，就不会揭露Rudy和Paul的关系，更加不会为了证实自己的高人一等，同Marco的母亲做出交易来赢得官司。我们可以从演绎中看到母亲有过犹豫，她知道Marco的确不适合和自己一起。R和P更能给他一个家庭。这点也是为了说明P和R的争取并非是不合理的，即使母亲健在，但是之前她的确是授予了监护权。
4．Happy ending
信者得爱，爱若此时。
马可喜欢Happy ending.所以也以为这个会有好的就结局。如果有相信的就去相信也并非盲目。
1.what u see is what you get.
这部电影里面，马可这个孩子真心很有感染力，看他笑就很开心，看他使着小性子想要甜甜圈也是真。每个人都有自己值得的美丽和欢乐。无论你的主观是否蒙蔽过你心你眼。可惜很多人还没有懂得这个道理。
在单身家庭，并有着瘾君子的母亲患着唐氏症，最后在疏忽的关爱里面走失死去，或显得太过凄凉，但是有时候，他也有过被亲吻得到额外幸运，“相信我，亲爱的，在这个疯狂的世界我们都需要一点点额外的幸运”，他得到并未尝失去，即使他可能不知道此后。
每一个孩子需要的除了一点点的幸运更多的应该是平常的爱护。我们看得到马可的母亲应该还是很爱自己的孩子，即使大多时候她的爱不算合格。但是问题就在于，很多人明知道自己应当承担的责任，却表示自己无能为力。这是完全怯懦的自私的表现。家庭的温暖和来自父母的爱不能算是额外的幸运，平常的意思就是指毫无疑问毫无悬念，如果有人要问“凭什么我要给予自己孩子、父母我的关怀爱护”，才是真正的不平常。
孩子敏感并有自己的情绪。当Marco在知道自己有一个家的时候，激动的哭；在合唱时候得到赞扬时自信的神情；等待被接回家时期许的凝望…都难以忽视。
“你们的所见即所得”医生说。一些与生俱来的感情在最原始的状态，是无关你爱护的事物能带给你什么的。太过纯粹的感情被人们遗忘的太多。即使可能会被人说太过理想化的想法，还是觉得纯粹的情愫就算可能带了许多附加条件使得我们认为其更加可爱，但只剩它本来的面目还是可爱的。无论马可是否能上大学，回报作为上大学取得的成就感（并非指大学本身是一个荣誉，而是孩子得到的努力的回报带来的骄傲），接受和包容、愿意付出一部分的自己来承担作为监护人的责任，还是让我觉得感动。
2.就像你无所畏惧
关于许多时候，双方陷入一段关系，例如两个同性别的人在一起，一方未出柜。在很多时候得不到被认可的地位，在一定场合遮遮掩掩其实是很心酸的一件事。被诘问“为什么不说出来不敢改变”，得到回答“你知道这样后果很严重，我会有很麻烦失去很多”。其实一直觉得体谅是相互的，但并非畏惧不前安于现状。敢于改变的预先得准备好面对的失去，并知道什么才是更可贵的，那么到了变化一刻也不会太手足无措。无论什么性别的个体都应当学会勇于承担。
3. “这不是歧视，这是现实”
持偏见的人并不意识到自己所做的事是充满了歧视的，就算他们努力秉持公正。例如法官们，从一开始的毫不犹豫地拒绝申请，即使被说服接受了，仍然在最后的审判中被并非品质的部分左右决定。但是其中有一部分的东西说明包容性的重要地位。就像老师。
但是受到歧视的人不能因为遭到习惯性对待，就认为自己理所应当被如此对待。Paul说“这不是歧视，这是现实”，事实上是对现实无奈的自我安慰，即使我也一度认为现实如此，被惯有存在同化，但是这的确是歧视。难道同性恋、异性恋、双性恋都是因为其伴侣的性别，而非自己作为人的个体来得到、行使自身平等的权利?难道是因为智力的高低而非个人的生命特征得到应有的生活权利?难道是因为财富的多少而非生而为人的热忱来决定生活的权利?固有看法并非是全对。你我既然存在，就不能屈服于“这是现实”。
也有这样的一部分人，会喜欢探寻别人的生活，然后伸手干预。例如地区检察官Wilson。他老是在不经意间试图窥视别人的生活，然后作出干预。如果他并非对同性恋抱有偏见，就不会揭露Rudy和Paul的关系，更加不会为了证实自己的高人一等，同Marco的母亲做出交易来赢得官司。我们可以从演绎中看到母亲有过犹豫，她知道Marco的确不适合和自己一起。R和P更能给他一个家庭。这点也是为了说明P和R的争取并非是不合理的，即使母亲健在，但是之前她的确是授予了监护权。
4．Happy ending
信者得爱，爱若此时。
他们看起来不像我最爱的那两个人，他不帅气不漂亮没有主角光环，他不年轻眼角爬满皱纹，他们为了彼此，转过身背叛世界，可我却被他们的故事深深打动，因爱动容，他们同样选择了一条最崎岖的道路，并肩战斗，穿越荆棘，这不正是我最爱的那两个人一直在做的事情吗?只不过，不是每个故事，都有一个完美的
The boy Isaac adds an usual documentary stroke to this bit cliched gay parenting melodrama. Touching, even heart-smashing. P.S. Alan is incredibly talented like always.
Alan Cumming你这个妖孽哟，怎么那么会卖弄风情，最后还要虐一把
健康正常的同志爱情和生活方式，因偏见而起的法庭舌战，还有一些催泪的瞬间和令人难过的结局，戏剧的重点放在了大时代背景下对同性群体的歧视偏见以及整个司法体系，这本应只是话题性爆点，而真正的重心应该是放在人身上，可惜这里的角色轻飘飘，看来这不是骚情大叔唱几首伤感歌曲就能搞定的。★★★
叫马可的魔法男孩最后没能拥有属于自己的happy ending。一部关于歧视、正义和爱的LGBT主题电影。没有精妙绝伦的构思，电影结构也搁置一边，一切为故事服务。你的眼前没有电影，只有故事，这种回归故事本身的电影像上个世纪许多电影一样纯粹而打动人。
真实故事加一星。真的应该多一些这样的电影，让更多的人看到。世界上根本就没有正义，但这并不意味着我们就要停止为自己认定的正确奋斗。
感动。 惊奇发现怎么是2012的片子，香港现在才上映
如果说有种身份叫做二等公民，那么有种煽情就叫做真人真事。40年其实没什么改变，法律仍然是高悬的达摩克利斯之剑，歧视依然理所当然，人心依然阴暗。现实的故事要比电影圆满，可惜这样的幸福永远是个案。（演唐氏症小孩的Isaac真是太奇特了，散发的气场甚至掩盖了两位主角）
生活是场戏剧，演不会从前。最大的问题依然是停留在法律和社会歧视的不公和难受绝望的层面，与太多类似作品无法做出区别度。
rudy君完全是我的菜啊 要被迷晕了
是不是关于法律都有点宣传片的感觉？不过还是可以上年度最佳观影
这感情处理弱爆了
在依法治国的国度，歧视仍然存在，公平和正义逃不过人心阴暗的摧残。充满悲观的结果更令人深省。而每每如此最令我感动的总是这样的一行字：本片根据真人真事改编。8.1分
欠缺张力，预告片好看，正片相当失望，节奏不是很好
这个秋天感动我
卧槽我以为是温情片，哭成渣了。当成一个故事来看，内容是不错的，但是作为电影，拍的手法大概过于简单了。
哽在喉中的痛 吐不出咽不下去
preview反響很好——期待requiredviewing的distribution&marketing campaign！
似乎是想拍出云淡风轻的悲伤感，结果真的就云淡风轻了，虽是真人真事改编但少了点力度。不单是当时的社会充满敌意，主人公多少也有些自作多情。原声出色，Love Don’t Live Here Anymore和Any Day Now两首很煽。总体来说是个好电影。
正好上映在八号提案那一年，诚意之作