THE SET (1970)

Title: THE SET

Year of Release: 1970

Director: Frank Brittain

Genre: Drama

Synopsis: An aspiring designer becomes part of the Sydney art society set.

Within a film history context: Homosexuality in motion pictures was not a common occurrence before the breakdown of film censorship in the late 1960s. There were, though, examples of subtly drawn gay characters and themes in films before THE SET. One of the first documented movies in this vein was Sidney Drew's A FLORIDA ENCHANTMENT (1914). In this film, a man and a woman undergo transformations into a gay man and a lesbian via the effect of seeds. It was one of the earliest films to examine gay sexuality in motion pictures, albeit in a comical manner. The love affair of two male musicians was explored in the German film DIFFERENT FROM THE OTHERS (1919), directed by Richard Oswald. Blackmail comes to the fore in this movie, with true love thwarted by a scheming man seeking to make the lovers pay for their forbidden love, with famous German actor Conrad Veidt in the lead as one of the harried musicians. In comparison, another German film, Carl Theodor Dreyer's MICHAEL (1924), spotlighted a gay painter's lover for his male model, and the difficulties their union faced. 

Into the 1930s and 1940s, gay characters were most likely to be presented in a comic manner, unlike the other examples here mentioned, and in supporting roles. Notable divergences from this were found in Pre-Code 1930s American movies such as SUNNY SKIES (1930), directed by Norman Taurog, with a gay romance story, and Raoul Walsh's SAILOR'S LUCK (1933), which also had a gay character. Of the 1940s movies ROPE (1948), directed by Alfred Hitchcock, featured a murderous gay couple, but in line with the censorship of the period, this was very much inferred with delicacy. Moving into the 1950s, there were several intimations of gay characters slightly more open in nature than those of beforehand, with some that definitely pushed the boundaries.

Possibly the most explicit gay themed film of its era, although a short movie, was Jean Genet's A SONG OF LOVE (1950). Set in a jail with prisoners and a guard among its characters, it concentrated upon sexuality, glimpses of nudity, and fantasy in a manner that was a first for its time. Another French film, the full-length THE TERRIBLE CHILDREN (1950), directed by Jean-Pierre Melville, contained a gay character, played by a female actress in a dual role, in a more conventional narrative of heterosexual romance with some homosexual undertones. With Vincente Minnelli's TEA AND SYMPATHY (1956), matters were entirely different. A thoughtful young man is believed to be gay, everyone attempting to change him, but finding sympathy with the wife of his coach. A bowdlerized film version of the stage play, it nonetheless treated its main character with empathy, despite references to homosexuality being discreet. SUDDENLY LAST SUMMER (1959), directed by Joseph Mankiewicz, was much more open about its gay character. Although the character's face is never shown, the impact of his presence in the movie is what propels the narrative, and his death is what drives his cousin, played by Elizabeth Taylor, to mental illness. Segueing into the 1960s, a gradual loosening of the Production Code brought forth franker films with more openly gay protagonists.

In Gregory Ratoff's British OSCAR WILDE (1960), the film followed the famous writer's legal trials and travails with his homosexuality, with Robert Morley in the lead role. Another British picture, A TASTE OF HONEY (1961), directed by Tony Richardson, featured a gay character in this realistic study of a young woman, and her family issues. A more devastating view of gay life and discrimination was presented in Basil Dearden's VICTIM (1961). The taut tale of a married barrister undone by a past gay affair, and involvement with blackmailers, showcased Dirk Bogarde in one of his finest performances. ADVISE AND CONSENT (1962), directed by Otto Preminger, was similar to VICTIM in that the main character's past homosexuality comes back to haunt him, but this time, running for Secretary of State in the United States government. Bryan Forbes' THE L-SHAPED ROOM (1962), had a minor gay character within its structure, in this case a musician. A more in-depth examination of homosexuality was in TAKE IT ALL (1963), directed by, and starring Claude Jutra. In this movie, a man's difficulty in coming to terms with his sexual orientation, and relationship with a black woman, made up the content of this picture. Sidney J. Furie's THE LEATHER BOYS (1964), had a gay motorbike rider in its canvas, with a scene in a gay bar also shown. BUS RILEY'S BACK IN TOWN (1965), directed by Harvey Hart, also offered a minor character of the gay mortician who wants to offer more than employment to lead protagonist Bus. Into the mid-1960s, John Schlesinger's DARLING (1965), had a gay photographer in a small part, common for many films of the era to have a homosexual character in a supporting role. 

INSIDE DAISY CLOVER (1965), directed by Robert Mulligan, was an expose of Hollywood, and starred Robert Redford as a man with a shadowy gay sexual orientation. The controversy surrounding this did not help the film at the box office, where it was not a success. More explicit was Andy Warhol and Chuck Wein's MY HUSTLER (1965). The story of an older hustler pursuing a younger one, it was one of Andy Warhol's many gay-themed films to reach audiences in the 1960s. Much more subtle in tone was WINTER KEPT UP WARM (1965), directed by David Secter. The friendship between two young university students, and their complex feelings for each other, was tackled by the director in this intricate movie. Jean-Claude Lord's DELIVER US FROM EVIL (1966), also had a storyline rooted in human emotion, with gay desire and bisexuality being the burning topics. In addition, John Huston's REFLECTIONS IN A GOLDEN EYE (1967), also treated its subject with candor, being an army colonel whose interest in an army private causes him to commit murder. 

A western theme was the basis for LONESOME COWBOYS (1968), directed by Andy Warhol. Featuring five gay cowboys provoking mayhem and indulging in sexual exploits, it was another in the director's unconventional works. In marked contrast, a tense mood thoroughly enveloped John Flynn's THE SERGEANT (1968). The story of an army sergeant, and his passion for a private, was studied in much greater detail than in the related REFLECTIONS OF A GOLDEN EYE, and provided Rod Steiger an excellent role as the eponymous sergeant, with John Phillip Law as the object of his obsession. A complex view of homosexuality was also captured in TEORAMA (1968), directed by Pier Paolo Pasolini. An Italian family receives a visitor at their home, who changes their lives, male and female, both sexually and otherwise. A different perspective on sexual relations, it was one of the director's most intimate, challenging works. 

Bryan Forbes' DEADFALL (1968), had a treacherous gay character whose actions influenced much of the goings-on in the movie with his dishonest ways. FLESH (1968), directed by Paul Morrissey, was another of Andy Warhol's movies with gay overtones. This time around, a male prostitute services both men, and women among his shenanigans. Guilt about homosexuality, and its aftermath, was played out in Gordon Douglas' THE DETECTIVE (1968). An incisive portrait of a police detective searching for the killer of a man believed to been gay, it was an excellent showcase for Frank Sinatra in the lead role of the undaunted investigator. MIDNIGHT COWBOY (1969), directed by John Schlesinger, was similar to FLESH in that its male character was an escort, but diverges from that film in the sympathetic treatment of its lead protagonist. He comes into contact with several gay men in the course of his escorting, but this is treated in a more serious fashion than the casual FLESH, where there are no tragic consequences for that character. Luchino Visconti's THE DAMNED (1969), was of a darker nature than the other examples. Homosexual activity in this movie is depicted as being depraved, and its participants likewise, with its Nazi-era German setting. 

FELLINI'S SATYRICON (1969), directed by Federico Fellini, featured a male-male gay couple, and some related entanglements, in this raucous story set in ancient Rome. In a comical style was Bruce Kessler's THE GAY DECEIVERS (1969). Two young men act as gay to avoid being drafted to the Army, but their decision entails difficulties of its own, especially as they attempt to keep their heterosexual lives on the side. An intentionally comical take on the gay theme, it was notable for also having serious undertones. HUNTING SCENES FROM BAVARIA (1969), a German film directed by Peter Fleishmann, was concerned with a man's sexual orientation, and how this causes problems in the Bavarian village in which he resides. An antithetical, overtly humorous, if broad, movie was Stanley Donen's THE STAIRCASE (1969). The tale of two older gay men who operate a barber shop, it was not well received critically, despite starring Rex Harrison and Richard Burton as the central duo. THE SET was notable in that it contained gay characters and themes, allowed by the breakdown of Australian film censorship at the time, but, overall, was nonsensical in its treatment of these.

THE SET was a two-pronged attempt at looking at homosexuality, both in a serious manner, but also, with some lighter moments. It had more in common with the irreverent films on the topic, such as A FLORIDA ENCHANTMENT, and THE GAY DECEIVERS, with their outrageous characters, THE SET also sporting several over-the-top gay characters, and a cross-dressing burlesque performer. On the same count, it also attempted to present a somewhat more subdued view of homosexuality, and its attendant desire, in the person of its main protagonist, Paul Lawrence. Paul is shown as turning to a man, Tony Brown, in light of his professional troubles, which is something the other movies of its type did not deal. There did not appear to be any pre-existing desire for a man present, but when the physical relationship eventuates, there is a sense of guilt, with Paul playing with the cross around his neck. There is a subtle religious background to this that the movie, though, does not actively pursue. The leads to other sentiments that the movie seeks to express.

It is as if the film wishes to posit that Paul's flirtation with homosexuality was an aberration on his part, and experimenting something that only affirmed his heterosexuality, thus leading to his return to girlfriend Cara. The use of Tony was also interesting, as he was bisexual, not only being with women but also, men, namely, Paul. Tony's effort to out Paul as gay to Cara at the party fails miserably, and was one of the pithiest scenes in the movie, taking things in an unexpected direction. Tony in THE SET, in effect, is one of the most duplicitous gay characters ever on film. Trying to trap another man in the web of homosexuality, while acting heterosexual all the while, made him a psychologically complex character, harking back to villains from DIFFERENT FROM THE OTHERS and ROPE. It appears, though, that there is a discomfort on Tony's part with his gay side, reflected in his shows of bravado, and hypermasculinity. Tony is another version of those who attempted to make a gay barrister's life miserable in VICTIM, but, for Paul in THE SET, events conspire for him to not be punished for his past homosexual activities. An interesting, and different, look at homosexuality, THE SET fits fits well with its uncommon spin on the topic. 

Overview: Frank Brittain was an Australian director of mainly short documentaries, with several credits as producer and writer. As THE SET is Mr Brittain's sole movie as director, this review will focus upon his contribution to the film. With THE SET, Frank Brittain has fashioned an entertaining, fast-moving motion picture. Concentrating upon a young man, and his experiences in the Sydney art scene, with his rise, and personal difficulties charted here, it is a watchable movie. The film succeeds in examining the art scene, the various personalities who populate this world, and their many liaisons. It also contrasts two young men, one being Paul Lawrence, an aspirant to the art world, the other being Tony Brown. This is where the movie examines homosexuality through these characters, specifically, Paul's latent feelings in this regard, and Tony's raw bisexuality. THE SET also has other gay characters who pop in and out of the narrative, but Paul and Tony are the main focus. While the movie does look at homosexuality as a main part of its scope, it is, in the main, handled with an air of flippancy, symptomatic of the film as a whole.

On the one hand, it is to the film's advantage that the pace is rapid, and does not let up, but this also has the effect of making story events run too fast through the film, rendering it emotionless at times. Paul's relationship with Marie Rosefield is there for a few moments, then gone in quick succession. There is no real impact on Paul of her death, as it is very fleeting. Tony's affairs with both Kim, and her mother Peggy, are similarly blasé. Kim's feelings about Tony, and discovery of his affair with her mother are well-handled, but the reason for the married Peggy's dalliance with Tony is given, but not backed up in a way to make one feel for Peggy. It is just a case of a bored, middle-aged woman having an affair with a younger man. Paul's brush with homosexuality, with John and Tony, are also handled in a listless manner. It seems as if the film wishes to say that Paul's homosexual tendencies are something temporary, and that true love is with Cara, which would raise the ire of certain viewers with this particular plot point. 

Peggy's affair with Mark has to be, by far, the silliest plot point in the movie. It does nothing but further the fact that Peggy is a promiscuous woman, which makes the character very shallow indeed. It does not delve into her psyche in a constructive way, but is just an exercise in visual thrills. The majority of relationships in the movie fall into this category, being akin to bedhopping without any real rationale for these. This, though, is an example of what THE SET, in essence, is about. It appears that it was not intended to be a deep exploration of these characters, rather, a superficial account of people, with an eye on amusement for viewers. It is a shame as it could have been a much better movie, if it had more real passion, but as it is, THE SET is a mindless diversion for undemanding viewers.

Acting: A number of acting performances assist THE SET in its watchability, despite its many flights of fancy. In the lead role of designer Paul, Sean Myers is striking. A good-looking actor with an otherworldly presence, who would have been at home as a hero in Jane Austen novel, here gives a thoughtful rendition of a young man finding himself in a somewhat prickly world. The complex, charismatic Tony Brown is made memorable by Rod Mullinar. A man of many moods and inclinations, Mr Mullinar succeeds in presenting a person who would do, and any say anything to get what he wants from those around him, but with some touches of sensitivity which surprise at the most unexpected moments. Denis Doonan, as Mark Bronoski, is one of THE SET's most distinctive characters. With his moustache, flamboyant ways, and penchant for physical comedy, Mr Doonan's appearance is one of the movie's comic highlights. The final performance of note was by Brenda Senders as poised designer Marie Rosefield, Paul's short-time flame. Running the gamut from calm, to despair, to sadness in her final scenes, Miss Senders' impact in the picture is keenly felt, if, unfortunately, all too brief in duration.

Soundtrack: Sven Libaek's music in THE SET sets an appropriate tone for the movie. The use of the song 'Start Growing Up Now', performed by the Flanagans, is a subtle comment upon the main character, and his experiences in the movie. It is utilized in both the opening credits, and the closing scene. Aside from this, there are incidental music pieces which have impact in the movie, such as the scene where Paul fondles Tony. The segment where Tony plays football with the children in the street is also notable, with its piano, flute, and harmonica strains adding a depth, and solemness to the scene. 

Mise-en-scene: THE SET has an excellent grasp of mise-en-scene, which is to the advantage of viewers. The black and white cinematography by Sandor Siro is beautiful, giving the movie an artistic and polished look, in keeping with its European art house feel. Art direction by David Furley effectively creates a story world that is plausible and realistic. Many examples abound in THE SET of this. The home Peggy inhabits with her husband is up to the minute in furnishings and accessories of the era, befitting their high socioeconomic position. Tony's home is more of a stark labyrinthine abode which is in keeping with his volatile, deceptive personality. The opening sequence is also striking, with images taking up one half of the screen, the other containing the cast and crew credits. There is the implication that the movie will deal with erotic themes and nudity, the sequence effectively telegraphing this to the spectator.

Notable Acting Performances: Sean Myers, Rod Mullinar, Denis Doonan, Brenda Senders.

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

Overall Grade: C

Link: IMDB Page