In the mid-90’s, Timothy Conigrave published his bestselling memoir, titled Holding the Man, 10 days before his death. It was a story so intimate and full of warmth that it continued to resonate with Australian audiences over the years. Tommy Murphy adapated it into an award-winning stage production in 2006, and now Director Neil Armfield has once again brought the story into the spotlight by turning it into a feature film, his first since 2006 classic Candy.
Conigrave’s collection of memories detail his close, enduring relationship with partner John Caleo that lasted 15 years, right up until John’s death in the early 90’s. From the first time they met in High School until the last time they saw each other again, their love persevered and laid the grounds for one of the most tender and heart-warming love stories told in Australian cinema.
The most striking and endearing aspect of the film is it’s tone. Nothing is overplaying, and nothing is underplaying, there’s a delicate and consistent middle ground and commitment to these characters that never takes away from the romance and touching loyalty between them. Conigrave is portrayed with brightness and buoyancy by Ryan Corr, and the 26 year old actor never fails in impressing while bringing this story to life. Craig Stott is John, a bit more restrained but no less energetic than Corr, with whom he shares a powerful on-screen chemistry; one necessary to drive this film despite some awkward structuring in the middle.
With the exception of John’s father (Anthony LaPaglia), no one else on screen has much depth, with the sole focus on the two leads. In any other film this would be more of an issue, but with a love story this compelling and involving, Holding the Man benefits by neglecting the supporting cast.
John and Tim are both team mates on a high school football team, where both seem to be well-liked and respected by their peers. It’s shortly after this is established that they meet and their relationship progresses quickly, shooting up the common trajectory of a regular teen romance. Armfield and the cast play it close to the camera, capturing the excitement between the two but also the worry that comes with having that particular sexual orientation in that particular era at that particular age. Parents are the first worry, and rightfully so; both families are against the relationship but their resistance is not painted with the same excessive drama that any lesser film would lean on.
The early stages of their romance are well established, peppered with a jovial sense of humour that remains strong throughout the film. We then fast forward to 1985, to the point where Tim and John are told that they are both HIV positive, letting that sink in before we step back in time to the increasingly strong bond between them that progresses during their university days at Monash. The purpose in the shifting of timelines feels more like an experiment for the sake of an experiment rather than anything necessarily important to telling the story or giving it some weight, which is largely handled beautifully by the actors.
The complexities in their relationship as they are each plunged into the rapids of university life never really dent their unshakeable bond, with the fun juxtaposed against the quiet, dignified progression of HIV that follows. We watch as these two stay committed to one another until the very end, with the cinematography lingering just all that bit more to really capture the emotional heights of John’s eventual death. The wide, long shot of John’s last breathes are especially shattering, followed quickly by the close-up of Tim breaking down in the hospital hall.
The story is preceded by a scene in which Tim is desperately trying to remember every minute detail about his relationship with John, so he can write it all down. We don’t spend enough time with him after John’s death to truly grab the process, but we can see how the story came to be so immersive – via Tim’s delicate approach to telling his story, which Armfield has honoured by preserving such a gentle touch throughout this adaptation.
Review Score: THREE AND A HALF STARS (OUT OF FIVE)
Running time: 128 minutes
Holding the Man was reviewed at the 62nd Sydney Film Festival. It is now screening nationally.
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