In suburban Cleveland in the 1960s, people have a habit of dying around rebellious 14 year-old Bobby Morrow (Andrew Chalmers). First his hippie brother, then his mother, and then his father. Bobby moves in with the family of his best friend from school, conservative and gawky Jonathan Glover (Harris Allan). When the two boys sleep together, even before Bobby moves in permanently, Jonathan puts the moves on him, and Bobby gets involved. The two are inseparable until Jonathan's mother Alice (Sissy Spacek) discovers them in a VW together and Jonathan pulls away from Bobby. Bobby helps Alice accept her son's homosexuality, and she teaches Bobby how to bake, setting him on a career path.
Eight years later, father Ned (Matt Frewer) decides that it's time Bobby move out on his own. Bobby (Erik Smith) follows Jonathan (Dallas Roberts) to NYC, only to be rejected by his childhood friend, at which point he turns to Jonathan's roommate, the free-spirited Clare (Robin Wright Penn), for solace. Jonathan shares a colorful East Village apartment with the bohemian and somewhat older Clare. Bobby (Colin Farrell) moves in, and the three create a nuclear family in the 1980s.
Clare: (on Bobby, when meeting him for the first time) Where did you find him?
Jonathan: He found me.
Clare: Jonathan, blue is your friend. See, blue is the color of sky and water.
Jonathan: White goes with everything
Clare: Yes, well, honey, it's a house, not an outfit.
Jonathan: Hey. I'm sorry about... well, all this. I knew I'd see you both again. I just imagined... well, different circumstances.
Clare: It's OK.
Bobby: It's OK.
Although Jonathan is gay and highly promiscuous, he is deeply in love with Clare, who seduces and falls into a relationship with the bisexual Bobby. Their romance occasionally is disrupted by sparks of jealousy between the two men until Jonathan, tired of being the third wheel, disappears without warning. He re-enters their lives when Ned dies and Bobby and Clare travel to Phoenix, Arizona for the services. The three take Ned's car back east with them, and impulsively decide to buy a house near Woodstock, New York, where Bobby and Jonathan open and operate a cafe while Clare raises the baby daughter she and Bobby have had.
Bobby: Clare, come on.
Clare: I'm pregnant, you f**kers!
Jonathan: Bobby, if you want my family so badly, I hereby bequeath them to you. No, better yet, I hereby bequeath you my whole, entire life. I hereby dub you Jonathan Glover. Tomorrow, when they cremate my father's body, you can be the son and I'll be the best friend. You can come back from the service, and you can console my mother!
Clare: Jonathan, stop it.
Jonathan: You're better at it than I am! You're better qualified, so go! Go at it. Be their son, with my blessing!
Clare: Listen to me, you little s**t! All he's ever done is worship you. And all you've ever done is walk out on him. Don't you dare speak to him like that, you hear me?
Jonathan: You don't know what you're talking about. You don't know the first thing about worship.
Clare: Do you know--do you have any idea how much--how much I wanted you? How much I loved you, you asshole. And then - what an idiot I am. How pathetic is that? Me in love with you. And then Bobby comes along, and I fell in love with this one, and I think that we... that the three of us, maybe we could... F**k it. Just leave me alone and go back in the house and have a drink.
Jonathan discovers what appears to be a Kaposi's sarcoma lesion on his thigh and, although Bobby tries to convince him it's simply a bruise, others soon appear. Clare takes the baby for what ostensibly is a brief visit to her mother in Philadelphia, but Bobby and Jonathan accurately suspect she has no intention of returning and Bobby decides to care for Jonathan during his last days. On a cold winter day, they scatter Ned's ashes in the field behind their home, and Jonathan makes Bobby promise he will scatter his in the same place following his now inevitable early death from complications due to AIDS.
(last lines)
Bobby: I've been thinking. We should repaint Rebecca's room. Like, pink. She'd like that, don't you think?
Jonathan: Mm-hmm.
Bobby: She'll come back someday. To this house, I mean. It'll be hers.
Jonathan: I guess it will be.
Bobby: She probably won't want it, right? She probably won't have any idea what to do with it. But still, it'll be hers, y'know?
Jonathan: It'll be hers. Listen. This'll be an all right place to put my ashes, too, OK?
Bobby: Sure. I mean, whatever you want.
Jonathan: You've built us a very good home.
Bobby: That's not what... That's what you did. That's what you did for me, y'know?
Jonathan: It's funny, isn't it?
Bobby: What?
Jonathan: The big, beautiful, noisy world. Everything that can happen.
Bobby: Yeah. It's funny.
Jonathan: Growing up in the country doesn't doom anybody to good behavior. Most of the realy interesting murderers come from derelict farms.
This movie does a great job of evoking the late 1960s in America, and looks at what we mean by love, commitment and loyalty. More importantly, it re-examines the idea of family, and shows us how it can be redefined. Probably the writer did not intend to punish his characters for their deviancy, but it does seem to be the case. The thinness of the material is a handicap, with numerous emotional scenes left dangling in a narrative vacuum. Some obvious scenes, like the birth of Claire's baby, are inexplicably left out. The changing of the years with a selection of golden oldies becomes tiresome, and the sweet and funny adolescent earlier passages are exhausted by the time we reach the somewhat abrupt conclusion. Farrell's controversial frontal nude scene, allegedly cut for being distracting, was not restored for the DVD release. But the DVD includes a short making-of documentary.
Film critic Roger Ebert wrote: "The movie exists outside our expectations for such stories. Nothing about it is conventional. The three-member household is puzzling not only to us, but to its members. We expect conflict, resolution, an ending happy or sad, but what we get is mostly life, muddling through... Colin Farrell is astonishing in the movie, not least because the character is such a departure from everything he has done before." A.O. Scott of the New York Times wrote: "The actors do what they can to import some of the texture of life into a project that is overly preoccupied with the idea of life, but the mannered self-consciousness of the script and the direction keeps flattening them into types."
The cast also includes: Ryan Donowho (Carlton Morrow), Asia Vieira (Emily), Quancetia Hamilton (Dancing Party Guest), Jeff J. J. Authors (Frank), Lisa Merchant (Frank's Date), Ron Lea (Burt Morrow), Michael Mayer (Jonathan's Co-Worker), Barna Moricz (Wes), Virginia Reh (Woman at Home Cafe), Joshua Close (Reiner), and Wendy Crewson (Isabel Morrow). Michael Cunningham wrote the screenplay based on his 1995 Pulitzer Prize-winning novel "The Hours". Duncan Sheik composed the original music, and the soundtrack includes songs by Laura Nyro, Leonard Cohen, and Dusty Springfield. Michael Mayer directed.
