Ordinarily, the more I like a current release, the less I want to write about it. Not through superstition or a kind of hipster snobbery – “no one else should be into this thing because they’ll only like it wrong” is stupid, and with small films actively damaging – but through a kind of fear that, should I express enthusiasm for the thing, ten thousand people will descend at once to explain to me that I am wrong, bad, and On Some Kind of List for having liked it.
However, I feel that the only people likely to be pissed off by Pride are the kind of people I should relish pissing off.
Set almost exactly thirty years ago, Pride tells the story of L.G.S.M; “Lesbians and Gays Support the Miners”, the 84-85 miner’s strike, and the power of the union; not the miner’s union but the union between two groups of people persecuted by the red-tops and Thatcher’s government.
In some ways it reminds me a little of The Full Monty, which I rewatched recently and which I discovered still has the power it had when it was released, to lift my spirits and provide a sense of warm, familiar welcome in a canon of film dominated by American releases and aspirations that enter the realms of the delusionally glossy. It relates to the UK’s lost industries, too, and to the ability of unusual friendships and activities to raise people from the gloom and horror of external/financial depression.
Because the subject matter is very hard – the attempt by the privileged and wealthy to break the backbone of the hard-working and supposedly powerless – and because of when it is set – right at the first peak of the AIDS crisis – there are some terribly bleak and sad moments in this comedy. There are some terribly dignified and heartwarming ones too, amid the laughter, and the acknowledgement that fear brings out the best in some people and the worst in others.
A slew of familiar locations, character types, and class coding, as well as the very faint and nascent memories of the time, formed in an extremely young mind, made this feel as if the film had been made especially for me. As the Resident Australian commented: “It’s about queer history and socialism, it’s like they wanted you to come and see it”.
I don’t think I’ve been made this happy by a film in a long, long time: it has a perfect blend of established talent and new stars, it has the perfect mix of triumphs and bitter failures, it has humour and kindness and warmth by the bucketload, and it has a great deal of pride in the union between working men cast down by their callous government, and queer men and women cast out, in many cases, by their families.
Definitely worth watching more than once.