I had heard the title of this British film a few times, I remembered the leading actor in it, and it was 30 years old in 2017, so I was hoping for something worthwhile, directed by Stephen Frears (My Beautiful Laundrette, The Queen, Philomena, Florence Foster Jenkins). Based on the true story, it tells the story of the life and death of gay playwright Joe Orton (BAFTA nominated Gary Oldman), and his lover Kenneth Halliwell (Alfred Molina). The story is told in flashback, as Orton's friend Peggy Ramsay (BAFTA and Golden Globe nominated Vanessa Redgrave), the theatrical agent who discovered his talent for both writing, she tells his story to John Lahr (Wallace Shawn), who is writing Orton's biography. Orton met Halliwell as a teenager at the Royal Academy of Dramatic Arts in London, Halliwell was older and more reserved, the two begin a relationship, but it is not all just about sex. At the time, sexually activity homosexuality was illegal, Orton loves the dangers of bath-houses and liaisons in public restrooms, but Halliwell is not as charming attractive as Orton, he does not fare as well. As their relationship progresses, Orton grows increasingly confident in his talent for writing, but Halliwell's writing stagnates, and they become like a traditional married couple, with Orton being the "husband", and Halliwell being the long suffering and increasingly ignored. In the 60s, Orton achieves fame with his plays, with "Entertaining Mr. Sloane" and "Loot" becoming huge hits, and he is commissioned to write a screenplay for The Beatles, Halliwell is becoming increasingly jealous of his success. In the end, in 1967, a despondent Halliwell kills 34-year-old Orton, bludgeoning him with nine hammer blows to the head, he leaves a message in Orton's diary, and commits suicide with an overdose of 22 tablets washed down with grapefruit juice. Also starring Julie Walters as Elsie Orton, Lindsay Duncan as Anthea Lahr, James Grant as William Orton, Frances Barber as Leonie Orton, Sean Pertwee as Orton's Friend, Richard Wilson as Psychiatrist, Steven Mackintosh as Simon Ward, Roger Lloyd Pack as Actor and David Bradley as Undertaker. Oldman gives a marvellous performance as the flamboyant and promiscuous cheeky chappy, and Molina packs a surprise punch as Orton's troubled mentor. Obviously many people will know it all ends in tragedy and murder, but the majority of the film before has a fantastic script, with hilarious one-liners (the "have a w**k" sequence being a highlight), only the little bits of Orton's career are focused, it is more interesting with the perspectives of being homosexual in the 1960s, all in all it a most worthwhile biographical drama. It was nominated the BAFTA for Best Adapted Screenplay for Alan Bennett. Gary Oldman was number 40 on The 100 Greatest Movie Stars, he was number 11 on The 50 Greatest British Actors, and he was number 36 on The World's Greatest Actor. Very good!

Movie about gay London playwright Joe Orton (Gary Oldman) who was killed by his lover Kenneth Halliwell (Alfred Molina) in 1967. It's done with Vanessa Regrave as Orton's agent and Wallace Shawn as an investigative reporter piecing together Orton's life and his relationship with Halliwell. It shows how it started out great but Halliwell's reputation went nowhere while Orton wrote some very dirty (and funny) plays. This upset Halliwell and shows how he finally cracks.This isn't for everybody. This shows a VERY graphic and unflinching view of gay life in London in the 1960s (when it was against the law). It seems Orton was very sexually active with others (that probably didn't help his relationship with Halliwell) and we're shown a few acts (all within an R rating). Oldman is just great--he LOOKS like Orton and gives a wonderful performance. Molina is good but he doesn't look a thing like Halliwell. Halliwell was about the same size and shape as Orton--Molina is tall and hulking--all wrong for the role. Shawn is lots of fun getting into Orton's life and Redgrave is just superb as his agent--who ever knew she could do comedy so effortlessly? She casually throws out some wonderful lines with a little smile on her lips. Also Julie Walters has a very very good scenes as Orton's sister.The only thing this lacks is some insight into HOW Orton wrote his plays and why he was thinking certain things. However it could be nobody knows. A great film--Oldman and Redgrave's show all the way. Again, not for people that have trouble with gay scenes or dialogue. I remember quite a few gasps from the audience when I saw it in a theatre in 1987 during the scene where Oldman french-kisses another guy. I give this an 8.

I don't usually enjoy biopics, but PRICK UP YOUR EARS is a glorious exception. Many biopics don't have strong narrative arcs (simply because people's lives generally don't), but this one does -- primarily because it focuses on the rapid deterioration of the relationship between playwright Joe Orton and failed novelist Kenneth Halliwell. With the obvious exception of the horrific conclusion, the issues faced by these two London writers will probably ring painfully true for many members of the audience. Who hasn't felt like Halliwell at some point -- or even Orton, dealing with a Halliwell-esquire partner? This is where PRICK UP YOUR EARS succeeds while so many other biopics fail: while it does not shy away from the sensationalistic aspects of Orton's life, it never neglects the complex relationship beating at the center of the narrative. I can safely say it's one of the rare cases where I found myself relating on a human level to the biographical subjects, instead of dryly watching them from afar. Director Stephen Frears deserves kudos for his warm, understated approach. It's almost hard to praise his directing because it's so unobtrusive; but this is exactly his strong point. He is confident in the story's inherent power, so he wisely gets out of the way and lets it unfold naturally.And he is helped marvelously by the uniformly great performances; there simply isn't a wrong note struck by the cast. Even supporting roles, like those of Orton's sister and brother-in-law, feel like real human beings. Of course, the real standouts are Oldman, Molina and Redgrave.Though his physical appearance isn't dramatically altered, Gary Oldman still seems unrecognizable compared to his previous work; this is how strongly he becomes Orton. His carefree swagger is by turns charming and infuriating. You understand why Halliwell is both entranced and insanely frustrated with him. He also looks a little bit like Dana Carvey - just by the by. Molina is no less astonishing. Bald at 25, frustrated, neurotic, sexually incapable... the character is a hulking mass of awkwardness, but somehow he evokes tremendous sympathy. You alternately want to hug this guy and shake him silly. (The scene in which Orton is informed of his mother's death is heartbreaking - for both men's reactions.) Meanwhile, Redgrave is a delight. Her line readings are exquisite and she gives the movie a crisp cleverness without crossing the line into self-indulgence.For all the tragic and uncomfortable elements of Orton and Halliwell's relationship, the movie still features some hilarious scenes. The cheeky title, Orton and Halliwell's divergent accounts of their lifestyle together, the conversation with Brian Epstein, and Halliwell's "we were having a conversation" gave the movie a gleeful edge of naughtiness -- one the viewer suspects was strongly inspired by Orton's own approach to life and work.In short, I highly recommend this movie. Though its description may seem sensationalistic -- a gay man brutally murders his successful young lover -- PRICK UP YOUR EARS triumphs as both a simple human drama and as a biography in which its subjects are made more intimate rather than more remote.

This frank account of famed playwright Joe Orton boasts three stellar performances. Gary Oldman sinks into the playwright's character with remarkable skill. Alfred Molina is appropriately irritating and erratic as Orton's companion, and Vanessa Redgrave is suave and stylish as the playright's agent. This biographical script pulls no punches in relaying the Orton's private lifestyle, while his career success is given rather short shrift. An insightful and informative presentation.