Jackson Booth-Millard I had heard the title of this British film a few times, I remembered the leading actor in it, and it was 30 years old in 2017, so I was hoping for something worthwhile, directed by Stephen Frears (My Beautiful Laundrette, The Queen, Philomena, Florence Foster Jenkins). Based on the true story, it tells the story of the life and death of gay playwright Joe Orton (BAFTA nominated Gary Oldman), and his lover Kenneth Halliwell (Alfred Molina). The story is told in flashback, as Orton's friend Peggy Ramsay (BAFTA and Golden Globe nominated Vanessa Redgrave), the theatrical agent who discovered his talent for both writing, she tells his story to John Lahr (Wallace Shawn), who is writing Orton's biography. Orton met Halliwell as a teenager at the Royal Academy of Dramatic Arts in London, Halliwell was older and more reserved, the two begin a relationship, but it is not all just about sex. At the time, sexually activity homosexuality was illegal, Orton loves the dangers of bath-houses and liaisons in public restrooms, but Halliwell is not as charming attractive as Orton, he does not fare as well. As their relationship progresses, Orton grows increasingly confident in his talent for writing, but Halliwell's writing stagnates, and they become like a traditional married couple, with Orton being the "husband", and Halliwell being the long suffering and increasingly ignored. In the 60s, Orton achieves fame with his plays, with "Entertaining Mr. Sloane" and "Loot" becoming huge hits, and he is commissioned to write a screenplay for The Beatles, Halliwell is becoming increasingly jealous of his success. In the end, in 1967, a despondent Halliwell kills 34-year-old Orton, bludgeoning him with nine hammer blows to the head, he leaves a message in Orton's diary, and commits suicide with an overdose of 22 tablets washed down with grapefruit juice. Also starring Julie Walters as Elsie Orton, Lindsay Duncan as Anthea Lahr, James Grant as William Orton, Frances Barber as Leonie Orton, Sean Pertwee as Orton's Friend, Richard Wilson as Psychiatrist, Steven Mackintosh as Simon Ward, Roger Lloyd Pack as Actor and David Bradley as Undertaker. Oldman gives a marvellous performance as the flamboyant and promiscuous cheeky chappy, and Molina packs a surprise punch as Orton's troubled mentor. Obviously many people will know it all ends in tragedy and murder, but the majority of the film before has a fantastic script, with hilarious one-liners (the "have a w**k" sequence being a highlight), only the little bits of Orton's career are focused, it is more interesting with the perspectives of being homosexual in the 1960s, all in all it a most worthwhile biographical drama. It was nominated the BAFTA for Best Adapted Screenplay for Alan Bennett. Gary Oldman was number 40 on The 100 Greatest Movie Stars, he was number 11 on The 50 Greatest British Actors, and he was number 36 on The World's Greatest Actor. Very good!

a_baron Joe Orton was just 34 when he was battered to death in August 1967; had he lived, he would almost certainly have become one of the greatest dramatists of his age. But Orton had a dark side, and it was this that contributed in no small measure to his untimely demise.This play begins with his murder and then fast forwards twenty years. Orton was killed by his male "lover" Kenneth Halliwell, who took his own life immediately afterwards. They may have lived together, written together, and ultimately died together, but that was as far as their similarities went, because while Halliwell was a lost soul, tortured by his homosexuality, Orton revelled in it, and in a brazen depravity which would have made him a more than suitable target for the "Operation Yewtree" witch-hunt that ensued nearly a half century after his death.Orton's diaries were published by John Lahr in 1986, and depraved they are. This TV dramatisation revolves largely around the diaries and their publication, covering Orton's early life briefly, how he met Halliwell at RADA - for which Orton had won a scholarship - their failed collaboration on literary works, and their bizarre crimes for which they were each sentenced to six months imprisonment, and which paradoxically was the making of Orton. (Neither the first nor the last time that has happened)."Prick Up Your Ears" - an obvious anagram just in case it was not obvious to you - strives for authenticity, and succeeds. Fortunately the play/film does not dwell on Orton's cottaging misadventures, though it does show him and Halliwell in Morocco doing unspeakable things with young men, at least some of whom were underage. Although the Beatles do not appear herein, we do see Brian Epstein, who while himself homosexual had nothing but contempt for Orton, and would not allow him to sully the image of his charges. Sadly, he would die a mere 18 days after Orton, in dissimilar but equally controversial circumstances."Prick Up Your Ears" is a worthy biographical document, but don't watch it unless you have a strong stomach.

tedg Before you enter a film, you need to know something of what is expected of you. What you are to give and what is planned to be given to you.Stephen Frears disappoints time and time again because he doesn't stick to his bargain, nor does he play with it in a conscious way. He just drifts, not unlike the writer depicted here (and Withnail). Probably, what you have heard about this is that it is a (mostly) true story about a mildly talented writer who enjoyed some success through titillation in London when that was trendy. There's some irony in exchanges with Brian Epstein, manager of the Beatles who himself was gay, dancing around Orton's gayness. There's some mild introspection as Redgrave and Shawn (himself an introspective playwright) are the framers of an examination of his life.Orton's appetites catch up with him, which is scant surprise. Sure, the actors do a good enough, even superb job, but just like the life depicted, it is something well crafted and discarded.This is not a good film because it has no reason to exist, or for you to visit it. I cannot recall any Frears project that is.Ted's Evaluation -- 2 of 3: Has some interesting elements.

margot This is NOT a serious depiction of the life and death of Joe Orton, even though the script is based on John Lahr's painstakingly researched biography. It's a good-looking film, with the ring of authenticity (e.g., set locations in the Underground and in public toilets). The script has a good "feel" for 1950s and 60s sensibility. And of course Gary Oldman LOOKS exactly like Joe Orton.Nevertheless...it's all very tongue-in-cheek. It's Joe Orton's career as reimagined by Alan Bennett, author of 'A Private Function' (aka The Pig Movie), 'The Madness of George III,' 'History Boys,' 'Talking Heads,' et cet, et cet. Bennett's specialty is drawing comic-grotesque miniatures--self-important little drudges and provincial dreamers. Here he gives himself free rein, turning the dutiful biographer John Lahr into a chatterboxy little elf played by Wallace Shawn. Kenneth Halliwell, Orton's longtime companion, muse, and eventual murder, was in real life a handsome, slightly built depressive; in this movie he becomes an enormous overbearing whinger (one of the best roles Alfred Molina has ever done).Some of the most memorable characters are on only for a flash: Madame So-and-so, the acting and elocution teacher in Leicester; the local council representative who grandly calls on Orton's mother and declares that the boy must follow an acting career; the terrified book editor at Faber & Faber who turns down Orton and Halliwell's campy novel; Lahr's English mother-in-law, trying to put her feeble shorthand knowledge to good use as she deciphers Orton's youthful diary entries about 'having a good w*nk.'Not everyone will appreciate the humor, to state the obvious. But if you like it at all, you'll like a lot and and want to keep it around for repeated viewings.