A Film that Spoke in Whispers but Left a Loud Echo
Cholodenko’s High Art released in 1998 as a low-budget independent film that had no red carpet promotions, nor major studio funding. But despite these setbacks, it gained traction in discussions about sexuality, artistry, and the ephemeral wonder of human relationships. It was, however, a film that focused more on intimacy as reflected in stolen glances and silences laden with nuances and meaning, rather than physical displays of affection. It offered a visceral and in-your-face experience that evoked an overwhelming sense of voyeurism, as if the audience had intruded upon someone’s private dwelling and were uncertain as to the reason behind their presence.
At its core, the neoteric High Art is about the protagonist, Syd (Radha Mitchell), an assistant editor of a photography magazine, and the shadow of fame, a photographer named Lucy (Ally Sheedy), who is now a drug-infested recluse. Lucy’s life and Sydney’s lives are contrasted in the sense that Sydney is a driven meaning, while Lucy is meaning herself, but is buried by profound disillusionment and addiction, coupled with the reality of being disassociated a rather notorious entourage.
With the passing of time, Syd’s relationship with Lucy helped her pursue her creative light, becoming an anchor and muse, albeit, with some difficulty. Lucy’s inner demons and vulnerabilities accompany her, which makes their intimacy both tender and tragic. The film’s strength lies in the way it does not provide easy answers to its questions. Instead, it assesses love in its transformative nature while simultaneously exploring the pain, which is almost inescapable, that sustains even the most beautiful of bonds.
For Ally Sheedy, High Art was more than just another role. It also represented a career resurrection. Sheedy was known in the 1980s along with the rest of the “Brat Pack”, and starred in films like The Breakfast Club and St. Elmo’s Fire. By the 1990s, her stardom had drifted away from the center of mainstream attention, which many assumed was the end of her acting career.
Nevertheless, High Art provided her the opportunity to reinvent her image. The role of Lucy required someone vulnerable and exhausted, like an artist that used to indulge in the limelight and triumphs but much later lost touch with reality. In real life, Sheedy herself was, in fact, withdrawing from Hollywood and trying to resolve the gaps in her identity, creative satisfaction, and the burden of popularity. Most reviews participants in the Lucy’s film were surprised with the amount of Sheedy’s reality, that impacted to the plot. The moment she was handed the Best Actress title at the Independent Spirit Awards was not simply due to her acting chops only, but about her return from hibernation. More of which, she openly declared that she was not going to lose herself in obscurity.
The Newcomer Finding Her Voice: Radha Mitchell
With Sheedy was Radha Mitchell, who at that moments was not as popular in the industry and her role as Syd was the one that brought her in the limelight. The transition of Syd from the land of reality to a voyager of dreams and astuteness was a transition that Mitchell experienced too. The Australian actress was mostly recognized in her local film industry and that made her role in a film with such sensitive and mentally charged aspects, a huge risk.
Through her study of 1990s New York in queer culture and photography and the accompanying art magazines, Mitchell was able to explain how she was poised to portray Syd’s curiosity without succumbing to Syd being characterized as the “wide-eyed ingénue.” Off-camera, Mitchell’s happy relationship with Sheedy made their on-screen chemistry seem less like acting, and more like real life. Critics considered their relationship as one of the real highlights of the film, and praised the warmth of their intimacy.
Behind the Camera: Lisa Cholodenko’s Bold Vision
High Art was the first feature film of director Lisa Cholodenko, and she focused on it in a deeply personal way. She aimed to offer a narrative that mirrored her intertwining encounters with sexuality and identity, along with the continual creative challenges faced by those on the fringes of the mainstream art world. The closeness of the film was no accident, as she framed it. Cholodenko shot it in small, rather confined areas with a more subjective approach, using primarily handhelds, to force audiences to experience Lucy’s apartment in a smoke-filled maze of conversation and suffocating emotion.
Budget constraints sparked new ideas and new sensibilities. The naturalistic lighting used on sets, which were kept rudimentary and spare, also contributed to the film’s unvarnished authenticity, which in turn made the film feel more like a documentary than a scripted piece of theater. Cholodenko also encouraged improvisation during rehearsals, which enabled actors to perform the dialogue in a way that felt true to them. The film’s unique atmosphere owes much to this improvisational spirit.
The Buzz That Came With Festival Screens
Like other festival favorites, High Art was Sundance’s darling in 1998. However, the palpable buzz was not the result of big-budget marketing or splashy ads. In fact, much of it was due to the subject matter. After screenings, people spoke of the film as being so raw and quietly powerful while portraying the true and often underrepresented hardships of its characters and the era. It was, to say the least, revolutionary.
There were also fans in India, even if the film was not vastly distributed. Cinephiles and critics who monitored international festivals praised the film as a stark contrast to the burgeoning LGBTQ+ community. They noted that like Shyam Benegal and Aparna Sen, who made introspective character-driven films set against a backdrop of commercial cinema, Indian art-house cinema still had room to explore.
The struggles, bonds, and experiments on set
Behind the glamour, the shoot was less than sophisticated. The cast and crew shared the same space to work in, which was, at times, uncomfortable, and the workdays unending. This proximity, on the other hand, fostered a sense of solidarity. Sheedy was said to have helped Mitchell work through emotionally charged scenes. Meanwhile, Cholodenko still discovering herself as a director, relied on the trust and faith in the story she perceived from her crew.
One fact which most people do not know is that some of the photographs in the movie, Lucy’s supposed body of work, were crafted for the film by actual photographers. These images were not mere props; they were designed to encapsulate Lucy’s psyche, her artistry, and her emotional trajectory. This is an additional aspect that many people overlook which adds a level of depth to the film.
The impact of the film beyond the box office
The film High Art was successful, in a sense that, achieved the targets set for it, and with the investment made in it Cholodenko’s status was greatly cemented as an indie filmmaker. This is financially speaking. More so, the film became a milestone for queer representation, and to provide unfiltered stories that skipped the simplification of relationships, was a major gain.
Critical appraisal came after Sheedy’s performance in the film. Mitchell Radha had the privilege of commencing the long journey of career in Hollywood. As to the audience, in particular those who came across the film years after its release on DVD or streaming, it was the epitome of the film that was ‘whispered’ about, the film which resonated with the audience on a deeper level, unlike other films that were loud and flashy, was ultimately a disappointment.
The Story Still Matters
What gives High Art its longevity is how it still showcases the relationship between same sex couples, and the relationship between the characters and the effect of love on art. It poses the question, how much are we prepared to give up for love, for beauty, for closeness, for fame? High Art In the context of India, where identity, sexuality and creative freedom is still ruthlessly in conflict with customs, is a testament to the fact that the personal is political, and that within politics, the softest stories are the ones that are the most impactful.
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