A DIFFERENT STORY (1978)

Title:  A DIFFERENT STORY

Year of Release: 1978

Director: Paul Aaron

Genre: Drama

Synopsis: A gay man and a lesbian fall in love.

Within a film history context: A DIFFERENT STORY was the first movie which explored the relationship between a gay man, and a lesbian. There have been a few films after which examined this theme in various ways. Gregg Araki's TOTALLY F***ED UP (1993) surveyed the heady lives of young gay and lesbian people, and their friendships. There was no crossover of gays and lesbians in a relationship sense, instead maintaining their distinct identities. Similar was BUT I'M A CHEERLEADER (1999), directed by Jamie Babbit. A young woman who appears heterosexual on the surface, but is a lesbian at heart, is sent to a camp to cure herself of her lesbianism by her parents. She falls for a young woman there, this affirming her sexuality. There are interactions between gays and lesbians in the movie, both portrayed sympathetically, and treating each other likewise. There is no crossover sexually, though, between gay and lesbian people in the film. 

Glenn Gaylord's I DO (2012), was about a gay man who marries a lesbian in order to avoid being deported, and attain his green card. Upon meeting another man with whom he falls in love, matters take an unexpected turn for him, and his wife. STUD LIFE (2012), directed by Campbell Ex, followed the life of a lesbian and her lover, and how her friendship with a gay man puts a strain on her relationship with her lover. On the other hand, William Sullivan's THAT'S NOT US (2015), centered on three couples, one heterosexual, one lesbian, the other gay, and their interactions at a beach house. DATING AMBER (2020), directed by David Freyne, focused on two young people in 1990s Ireland, and how they attempt a faux straight relationship to hide their real sexuality as a gay man, and lesbian. A DIFFERENT STORY looked intensively at how a gay man, and a lesbian bonded in its context.

In A DIFFERENT STORY, Albert and Stella consummate a physical relationship, with repercussions from this, which is something the later films did not explore. TOTALLY F***ED UP, BUT I'M A CHEERLEADER, and THAT'S NOT US had a number of characters, being couples, who did not interact sexually with others who were not of their orientation. THAT'S NOT US differed from the other two in that it featured a heterosexual couple in addition to gay and lesbian couples, where TOTALLY F***ED UP and BUT I'M A CHEERLEADER just had gays and lesbians within its context. A DIFFERENT STORY is closest to I DO in terms of its gay male character marrying a lesbian to avoid deportation, as occurred with Albert and Stella in the former movie. The characters of I DO, though, do not carry on a physical relationship, as the man falls for another man, maintaining his gay identity. This is something on which A DIFFERENT STORY does not follow through, in that Albert's gay identity is whitewashed by the narrative to keep his marriage to Stella intact. Thus, A DIFFERENT STORY posits an overriding heterosexual context which forgoes the previous homosexuality of the characters. DATING AMBER is another side to issues, in that a young man and woman try to hide their gay and lesbian lives by posing as a couple. This movie was another view on matters, as homosexuality was forbidden in the story world, akin to BUT I'M A CHEERLEADER's parental figures, who try to cure their daughter of her lesbianism. Shame is not something which the protagonists of the other pictures display, with their respective sexualities freely known to others. An affecting view of sexuality, A DIFFERENT STORY is a thought-provoking movie.

Overview: Paul Aaron is an American director who has helmed six movies over a nine year duration. His films are mainly dramas, with action, and two comedy projects. His second picture, A FORCE OF ONE (1979), focused on the murders of undercover drug officers, and how a martial artist is hired to find the killer. IMPERIAL NAVY (1981), was Mr Aaron's fourth film. A persona non grata police officer returns to his Los Angeles stomping grounds to catch the killer of his friend's daughter, and patch things up with his wife. Paul Aaron's penultimate movie, MAXIE (1985), was entirely contrary in tone. Mayhem ensues when a deceased flapper of the 1920s possesses the body of the new owner of her house in this comedy. Notable for its cast, including Glenn Close in the lead, Mandy Patinkin, Ruth Gordon, Barnard Hughes and Valerie Curtin, it was not a box office success. Paul Aaron's final cinematic outing, MORGAN STEWART'S COMING HOME (1987), was co-directed with Terry Winsor. A young man returns from boarding school after years away from home, and clashes with his parents, but does one good deed which sets everyone on the right path. A DIFFERENT STORY was Paul Aaron's first movie, and one of his best-known works.

Paul Aaron has made an engaging film debut with his direction of A DIFFERENT STORY. The story of the blossoming relationship between Albert, a gay man, and Stella, a lesbian, has been handled with sensitivity and grace by Mr Aaron. The movie has many telling passages throughout its running time, with plenty of palpable emotion conveyed to the viewer via the characters. What stands out most, though, is the central relationship between the protagonists. Their status as two single people, growing need for each other, and all the ups and downs depicted in making their way together as a couple, are very moving. Likewise for Stella's relationship with former girlfriend Phyllis, this providing the movie with some great moments. While A DIFFERENT STORY has many positive elements, there are a few flaws which do hinder its power when looking over the film as a whole.

In seeking to explore the relationship between a gay man, and a lesbian, there are some omissions which do not make sense overall. It is not extraordinary that Albert and Stella would be attracted to one another, but the movie does not follow up on their attraction to people of the same sex, which would occur at some point. It seems to be conveniently forgotten that Albert was a kept man by a businessman, and subsequently goes to a men's club one day to find another man, being Roger. Likewise, Stella's relationship with Phyllis also drops away to a memory, despite the film being at pains to show that Stella is a lesbian. Phyllis does have a presence which is considerable, but Roger is seen three times, and never heard from again. In addition, having Albert cheat on Stella with a woman instead of a man is comprehensible, but takes away from the surprise if he had a male lover on the side while married. This would definitely have added color to the movie, and spun matters off into an unexpected direction. In essence, it makes one ponder if the movie could have pursued matters in a more profitable, clear direction.

Dispensing with Albert as gay, and Stella as a lesbian would have transformed A DIFFERENT STORY into more of a film about unlucky in love souls finding mutual contentment. Sills could have been a more lascivious employer who might have created mayhem for Albert and Stella upon finding out about their relationship, and marriage. Phyllis and Stella's friendship could have been a deeper bond threatened by Albert's marriage to Stella. On the other hand, if the film did have the full courage of its convictions, Albert may have decided at some point that heterosexual married life was not for him, and resumed his life as a gay man. The same with Stella as a lesbian, with the effect that she was left to raise a child on her own; a difficult, touching scenario for her. In saying this, several things stand out about A DIFFERENT STORY. It is a meaningful movie that does not quite reach its full potential in terms of its story, but is important for opening a discourse on gay and lesbian people, and humanity itself.

Acting: A DIFFERENT STORY has a number of affecting performances which boost the movie considerably. As Albert, the central gay character of the film, Perry King is in one of his best appearances in a picture. A personable actor able to play drama, romance, comedy, and tragedy with thorough skill, Mr King makes Albert a flesh and blood figure for which the audience can root. Albert's other half, Stella, is given equally careful shading by Meg Foster. The film utilizes Miss Foster's acting prowess more than others, where her eyes and appearance were overly emphasized. Here she matches perfectly with Perry King, and their tremendous chemistry overrides the lapses which the movie does have from time to time. Stella's best friend, and former lover Phyllis is made vivid by Valerie Curtin. An actress with great comic timing also does excellent dramatic work here, her final scenes haunting to watch. Three other actors provide excellent acting despite their brief appearances in A DIFFERENT STORY.

Peter Donat makes the role of Albert's former employer, and lover, composer Sills, his own. With his aristocratic demeanor and calculating manner, Mr Donat projects Sills as a fascinating, enigmatic figure in the movie. The small part of Roger, a man Albert meets at the men's club, is played with impressive candor by Doug Higgins. A performer who unfortunately only acted in this film, his agreeable nature, and ability to make his character human, makes Roger a striking presence. Ned, Albert's boss at the fashion house, is given authority by Guerin Barry. An actor with a distinctive, expressive visage, ideal for professional or debonair roles, Mr Barry's controlled facial expressions and body language make Ned fit in perfectly at the fashion house.

Soundtrack: A DIFFERENT STORY takes an individual approach to its soundtrack. The picture begins with a booming classical music piece, in keeping with the introduction of composer Sills, who is also Albert's employer, and lover. The end of the movie is in sharp contrast to the beginning, with 'Let Tomorrow Be', performed by Cory Wells, a thoughtful tune which successfully encompasses the movie's intentions, and the journey its characters take.

Mise-en-scene: Philip Lathrop's color cinematography lends an air of naturalism to A DIFFERENT STORY. Capturing events with a subdued color palette complements the film's contemplative mood and aura well. Sets designed by Lee Poll are also in keeping with the film's feel of everyday life. There are two striking examples of this is the movie. Sills' mansion is in complete contrast to Stella's slightly messy apartment, which reflects his artistic life and pursuits, and Stella's busy life as an estate agent. Costuming is another aspect worthy of consideration for its impact in the movie. Even though fashions reflect the late 1970s, costuming by Robert De Mora is adept at expressing the characters' individuality through apparel. Perry King's Albert, for example, sports more casual/original attire in the beginning of the movie, replete with accessories such as cravats, while by the end his wardrobe is slanted toward the conservative. This signals a change in the character, and his place in the film in an understated manner.

Notable Acting Performances: Perry King, Meg Foster, Valerie Curtin, Peter Donat, Doug Higgins, Guerin Barry.

Suitability for young viewers: No. Male nudity, female nudity, adult themes.

Overall Grade: B

Link: IMDB Page