Year of Release: 1983
Director: Robert Altman
Genre: Drama
Synopsis: Soldiers in an army barracks preparing to go to Vietnam wrestle with the revelation that one of their fellow recruits is gay.
Within a film history context: Films featuring homosexual protagonists and themes have been featured several times in cinema before STREAMERS. One of the first was Jack Garfien's THE STRANGE ONE (1957). In this movie, the tradition of hazing within a military college was explored, and the presence of a gay character in the narrative. It was also notable not only for its frank, for the time, treatment of its subject matter but also, being the film debut of several cast members including Ben Gazzara and George Peppard. REFLECTIONS IN A GOLDEN EYE (1967), directed by John Huston, had a gay character who was also a soldier. John Flynn's THE SERGEANT (1968) starred Rod Steiger as an army sergeant who is drawn towards a younger man, his untapped feelings brought out into the open. As with REFLECTIONS IN A GOLDEN EYE, THE VIRGIN SOLDIERS (1969), directed by John Dexter, had a gay character who again was a soldier, this time in 1950s Singapore. The difference between this film and the others is that it was of a comic nature with some dramatic moments.
Within a film history context: Films featuring homosexual protagonists and themes have been featured several times in cinema before STREAMERS. One of the first was Jack Garfien's THE STRANGE ONE (1957). In this movie, the tradition of hazing within a military college was explored, and the presence of a gay character in the narrative. It was also notable not only for its frank, for the time, treatment of its subject matter but also, being the film debut of several cast members including Ben Gazzara and George Peppard. REFLECTIONS IN A GOLDEN EYE (1967), directed by John Huston, had a gay character who was also a soldier. John Flynn's THE SERGEANT (1968) starred Rod Steiger as an army sergeant who is drawn towards a younger man, his untapped feelings brought out into the open. As with REFLECTIONS IN A GOLDEN EYE, THE VIRGIN SOLDIERS (1969), directed by John Dexter, had a gay character who again was a soldier, this time in 1950s Singapore. The difference between this film and the others is that it was of a comic nature with some dramatic moments.
In a different, more irreverent vein was Bruce Kessler's THE GAY DECEIVERS (1969). While not technically set in a military locale, it was notable as it had two men pretending to be gay in order to avoid being drafted for Vietnam. This, of course, does not work out exactly as planned, which provided the majority of the comedy in this film. THE MCKENZIE BREAK (1970), directed by Lamont Johnson, again had a gay soldier, this time set during World War II. British film PRIVATES ON PARADE (1983), directed by Michael Blakemore, was about soldiers in 1940s Malaysia, with a gay captain in evidence. STREAMERS took elements of the more serious, considered movies with gay military protagonists, and explored these vigorously with its gay character, and his effect on the other men in the barracks.
In the other movies, homosexuality, with the exception of THE SERGEANT, was something treated as a sideline rather than a major plot point. In STREAMERS, it is front and center of the film, creating the drama, and showing the audience how the characters respond to this in their varying ways. There are those characters who speak out against it, and Richie, but are not particularly blatant in their lack of understanding, another who believes that it is a phase which will pass, and, in particular, Billy, who is adamant in opposing Richie and his homosexuality. The film is therefore more multi-faceted than others, presenting viewpoints to the audience for them to ponder, and discern before, and if they make their final assumptions about the topic. STREAMERS is significant as it did not fall into the trap of making characters 'good' or 'bad', it presents its debate to the viewers for them to decide without pushing one or the other side. The spectator of STREAMERS is the judge and jury; they are presented with all the evidence through the characters and their actions, and hence cast their own vote on what is right, or wrong. A thought-provoking film that leaves one thinking about it way after it has ended, STREAMERS is a contemplative work that deserves recognition for its robust presentation, and intentions.
Overview: Robert Altman was an adventurous filmmaker who made a vast assortment of movies with distinctive themes, from 1957 until his final film in 2006. After directing a number of short movies, Mr Altman made his debut in 1957 with THE DELINQUENTS. A drama of youth dissatisfaction and gangs, it starred Tom Laughlin in the lead role, who approximately a decade later found fame in the 'Billy Jack' action movies. After working in television for the next ten years, Mr Altman then directed COUNTDOWN (1967). A science-fiction thriller co-starring future THE GODFATHER stars James Caan and Robert Duvall, it was an interesting movie that began his ascent as director. THAT COLD DAY IN THE PARK (1969) was a psychological suspense story starring Sandy Dennis that earned plaudits for Mr Altman and hid lead actress. The start of the 1970s, though, heralded an unprecedented era of creative successes for Mr Altman.
MASH (1970) was Mr Altman's biggest success to date, a comedy-drama set during the Korean War that also provided Elliott Gould, Donald Sutherland, and other performers excellent exposure. It was so influential that it spun off a long-running television series that enjoyed high ratings during its eleven seasons on the air. More notable films followed for Robert Altman. McCABE AND MRS MILLER (1971) was a drama about a madam and a gambler in a western town, starring Warren Beatty and Julie Christie. IMAGES (1972) was a suspenseful drama about a woman in a constant state of flux, unable to distinguish what was fantasy and what was reality. An actor's piece giving Susannah York an excellent role, with Robert Altman regular Rene Auberjonois in a supporting role, it was an absorbing piece of cinema. More comical in delivery was CALIFORNIA SPLIT (1974). With Elliott Gould and George Segal as two gamblers finding nothing but trouble with their lifestyle, it gave its stars many opportunities to display their engaging quick-talking abilities. With NASHVILLE (1975), Mr Altman found another topical theme to explore. Focusing upon a political convention in Nashville, it showed Mr Altman's ease working with large ensemble casts, and was another box-office success for him. He then made a journey into more solemn territory with 3 WOMEN (1977). Following the relationship of three women over the years, it was another artistic triumph for Mr Altman, and an acting one for Sissy Spacek and Shelley Duvall. Another character-driven film, A WEDDING (1978) was comic in nature, about the marriage of a young woman of working class background to a wealthy young man. Another success for Mr Altman, it rounded out his best films from the 1970s.
The 1980s brought him films with less success at the box-office, and artistically. HealtH (1980) was a satire of American politics that did not go over well with audiences at the time. POPEYE (1980) was a financial failure that did nothing for Mr Altman or his actors. COME BACK TO THE 5 AND DIME JIMMY DEAN, JIMMY DEAN (1982) was more in his style, a film that took advantage of its large cast, even though the set at times was slightly constricting. The 1990s, though, brought a renaissance for Mr Altman. VINCENT & THEO (1990) was an exploration of the relationship between Vincent van Gogh and brother Theodore, using a largely British cast including Tim Roth and Paul Rhys as the titular siblings. SHORT CUTS (1993) was another innovative film, somewhat in the style of Mr Altman's other character-based movies such as NASHVILLE and A WEDDING, with a large cast bringing his story of Los Angeles denizens to vivid life. READY TO WEAR (1994), with Julia Roberts, was a comedy about people involved in the Paris Fashion Week. It was also notable for appearances by international actors such as Sophia Loren and Anouk Aimee. Robert Altman made a few more movies in the 1990s and 2000s, his final being A PRAIRIE HOME COMPANION (2006). With a cast including Meryl Streep, Lily Tomlin and Tommy Lee Jones, it had both comic, and dramatic elements well fused by Mr Altman. STREAMERS, coming in 1983, was one of Mr Altman's best films, and another example of his excellent work with ensemble casts, this time tighter in number than other films such as NASHVILLE.
MASH (1970) was Mr Altman's biggest success to date, a comedy-drama set during the Korean War that also provided Elliott Gould, Donald Sutherland, and other performers excellent exposure. It was so influential that it spun off a long-running television series that enjoyed high ratings during its eleven seasons on the air. More notable films followed for Robert Altman. McCABE AND MRS MILLER (1971) was a drama about a madam and a gambler in a western town, starring Warren Beatty and Julie Christie. IMAGES (1972) was a suspenseful drama about a woman in a constant state of flux, unable to distinguish what was fantasy and what was reality. An actor's piece giving Susannah York an excellent role, with Robert Altman regular Rene Auberjonois in a supporting role, it was an absorbing piece of cinema. More comical in delivery was CALIFORNIA SPLIT (1974). With Elliott Gould and George Segal as two gamblers finding nothing but trouble with their lifestyle, it gave its stars many opportunities to display their engaging quick-talking abilities. With NASHVILLE (1975), Mr Altman found another topical theme to explore. Focusing upon a political convention in Nashville, it showed Mr Altman's ease working with large ensemble casts, and was another box-office success for him. He then made a journey into more solemn territory with 3 WOMEN (1977). Following the relationship of three women over the years, it was another artistic triumph for Mr Altman, and an acting one for Sissy Spacek and Shelley Duvall. Another character-driven film, A WEDDING (1978) was comic in nature, about the marriage of a young woman of working class background to a wealthy young man. Another success for Mr Altman, it rounded out his best films from the 1970s.
The 1980s brought him films with less success at the box-office, and artistically. HealtH (1980) was a satire of American politics that did not go over well with audiences at the time. POPEYE (1980) was a financial failure that did nothing for Mr Altman or his actors. COME BACK TO THE 5 AND DIME JIMMY DEAN, JIMMY DEAN (1982) was more in his style, a film that took advantage of its large cast, even though the set at times was slightly constricting. The 1990s, though, brought a renaissance for Mr Altman. VINCENT & THEO (1990) was an exploration of the relationship between Vincent van Gogh and brother Theodore, using a largely British cast including Tim Roth and Paul Rhys as the titular siblings. SHORT CUTS (1993) was another innovative film, somewhat in the style of Mr Altman's other character-based movies such as NASHVILLE and A WEDDING, with a large cast bringing his story of Los Angeles denizens to vivid life. READY TO WEAR (1994), with Julia Roberts, was a comedy about people involved in the Paris Fashion Week. It was also notable for appearances by international actors such as Sophia Loren and Anouk Aimee. Robert Altman made a few more movies in the 1990s and 2000s, his final being A PRAIRIE HOME COMPANION (2006). With a cast including Meryl Streep, Lily Tomlin and Tommy Lee Jones, it had both comic, and dramatic elements well fused by Mr Altman. STREAMERS, coming in 1983, was one of Mr Altman's best films, and another example of his excellent work with ensemble casts, this time tighter in number than other films such as NASHVILLE.
Adapted by David Rabe for the screen from his own stage play, STREAMERS, as directed by Robert Altman, is a thoroughly gripping, compulsively watchable film that moves at a steady, but never stagnant pace. At first glance it would seem that filming a movie in such a limited environment would render it boring, but Mr Altman effortlessly glides from character to character, situation to situation with a confident assurance. There are no gaps, or moments where the movie feels stagey, and this is in large part attributable not only to Mr Altman's direction, but also, to his actors. Dispensing with his tradition of a soundtrack with multiple actors speaking simultaneously, Mr Altman goes for a cleaner feel with the dialogue and its delivery here, which works in its favour. It does not feel overloaded, but naturalistic. While the film also has a concentration on obscenities and sexual inferences, these do not feel out of place, coming from the characters in a manner that is not demeaning, but realistic. Some films utilize coarse language and its delivery sounds artificial, and offensive, but this is not the case in STREAMERS.
Other features of the film make it stand out in comparison to Mr Altman's other movies. It is more of a straightforward narrative without the irony of MASH, never containing humour that does not gel with the characters, and what is going on. STREAMERS has an hypnotic quality shared with Mr Altman's earlier IMAGES, where one cannot take their eyes away from the screen, as what is occurring is so spellbinding. Unlike IMAGES, though, the visuals are not as beautiful, where that film's transitions from reality to fiction are an integral element in the movie. STREAMERS is more in keeping with Mr Altman's McCABE AND MRS MILLER in the realism of its sets, preferring a more subdued presentation. The film is also an intimate examination of homophobia, presenting both sides of the coin for audiences to synthesize. It is also notable for presenting a gay character who is uncomplicated in his psychological makeup, this also being a contrast to the other films with their wrought gay protagonists. For these reasons, in all respects STREAMERS works on every level, and is one of Robert Altman's best cinematic achievements.
Acting: The acting performances in STREAMERS are all first-rate, keeping the film compelling from beginning to end. As Billy, Matthew Modine is excellent, making the character real despite Billy's homophobia and ranting. Mr Modine has a funky way of speaking which works well on screen, this working particularly well in the confrontation scenes. The viewer has a sense of regret at what happens to him in the movie, but he carries his scenes off with a righteous air. Michael Wright is stunning as the complicated Carlyle whose closeted gay inclinations cause him to melt down, and provide the film with its violent conclusion. An actor capable of displaying many simmering emotions in quick succession, Mr Wright's actions as Carlyle, while horrendous, are born of repression, and lack of opportunity. Mitchell Lichtenstein, as Richie, also has a challenging role in STREAMERS. Playing a gay character in a film largely populated with heterosexual characters makes his acting stand out even more. It is a testament to his ability that Richie is not a stereotypical character, but portrayed with shades of compassion and understanding that give Richie great depth. The subtle facial expressions and movements employed by Mr Lichtenstein make Richie a sympathetic, and compelling presence in the movie.
Soundtrack: STREAMERS does not have a musical score and this only heightens the drama, as enough taking place onscreen to capture interest. Diegetic music is restricted to the radio inside the barracks, playing pop songs, which gives the film added realism.
Mise-en-scene: STREAMERS was filmed in a barracks set which had an outlook to the outside through windows, and a clear view of the shower room from inside the barracks. While this might seem a claustrophobic set at first glance, it works in the film's favour as it intensifies the action, keeping it disciplined. The low lighting is realistic, seeming like an authentic barracks, but the expressions of the actors are easily discerned despite the gothic-like spare lighting. The opening and closing credits are similar, with soldiers in military training, the lighting emphasizing their form through use of shadows. It is a haunting sequences that excellently puts the film into perspective for viewers.
Award-worthy performances in my opinion: Matthew Modine, Michael Wright, Mitchell Lichtenstein.
Award-worthy performances in my opinion: Matthew Modine, Michael Wright, Mitchell Lichtenstein.
Suitability for young viewers: No. Frequent coarse language, male nudity, adult themes, medium-level violence.
Overall Grade: A
Link: IMDB Page
Trailer
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