Set Me Free (Emporte-Moi) (1999)

   I'll go ahead and admit as a bad filmgoer and reviewer that I have never seen "Vivre Sa Vie" ("My Life to Live") by Jean-Luc Godard, and I considered watching it to get some perspective before reviewing "Set Me Free." "Set Me Free," though not directly related to "Vivre Sa Vie" thematically, is the story of a frustrated young girl who becomes fascinated with the prostitute character, Nana, is Godard's classic.

   It's also about growing up. And sexual awakening. And youthful confusion. And the moment as a child when you realize that you can't save the grown-ups in your life; sometimes, you can only help them along while they choose to sink or swim, to fight against the current, or drown. It's about the way movies influence young people, and how it's often the one's you wouldn't expect that change their ideology, for better or worse.

   Hanna (Katrine Vanasse) is a knowing yet naive 13-year-old who lives with her thief brother, Holocaust survivor father, and suicidally depressed mother in France. The year is 1963. Her father (Predrag Manjlovic) has a iron grip on the household. On the other hand her mother (Pascale Bussières) is as submissive and weak as her father is dominating. In an opening scene, Hanna gets her first period near her grandparent's house, and shortly after goes back home to her parent's.

   While she was hardly happy at her grandma and grandad's, things go from bad to worse at home. Her dad is a pretentious, lofty, and generally bad writer who fancies himself a great artist, and her mom is one twitch away from a complete nervous breakdown. Her brother Paul is a petty thief. In an opening act of general assholery, Hanna's father spits at her mother that her's is 'mongoloid family' because her brother (Hanna's Uncle Martin) has Down Syndrome (I told myself that 'Mongoloid' was not such an offensive term back in the 60's, but nah, it's still not excusable.)

   When Hanna goes to the theater and sees "Vivre Sa Vie" for the first time, she falls in love- with the movies, Anna Karina, and with Karina's 'glamorous' character. From what I saw of the film within this film she is totally misreading the message of the movie, as her teacher tries to point out. But as a confused kid (sexually and in life) looking for a role model, it makes sense.

   Boy, did the child actor knock it out of the park here! Hanna was a sweetheart. From what I understand, the child actress was sixteen when she did this movie, and in fact, she looks childlike in some shots and more womanly in others, probably a intentional decision on the part of the director. Hanna's father insists on masculinizing his daughter, cropping her hair down to boy length (the hair-cutting scene reminds me of the one in "Ma Vie En Rose.") As Dad cuts, a silent tear runs down Hanna's cheek, and she gradually is made to feel a little more helpless.

   Hanna propositions a man, maybe in hopes for a normal life or because it is the 'thing to do' as a girl, but exchanges intimate kisses with a female friend (Charlotte Christeler.) Does that mean she is bi, simply confused, or something else. Fed up with her family, Hanna runs away, but will a life on the streets be easier or harder than she was looking for?

    The acting was fabulous, but I wished the ending had offered a little more. There seemed to be a real lack of realization, and everything get's better quite abruptly. What was learned, except that being a ho' isn't all it's cut out to be? It's nice to have a happy ending for such a lovely character, but the story doesn't seem to have the most logical conclusion.

   "Set Me Free" is well made and most of all bittersweet and sad. It's is based on the director Lea Pool's life, so that makes it this much more authentic. I would love to know if filmmaker Lea Pool is gay, because that would shine a light to better understand the sexual elements of this movie. Note- You can watch this on Huluplus. Otherwise it is not available on DVD as far as I know. I hope you get the chance to watch this powerful film. Thank you.
                                                                             Rating-
                                                                                   8.5/10

'Parrotfish' by Ellen Wittlinger

Intro- So, this is my first book review, and any comments or feedback would be much appreciated. I have always had a deep appreciation for GLBTQ (for the out-of-the-know, that's Gay, Lesbian, Bisexual, Transgendered and/or questioning) books and cinema. I believe there really can't be enough of this resource for the GLBTQ community, especially youths who aren't yet sure where or how they fit in. I hope that Christians and gays can unite someday and throw away the silly prejudices one has about the other. It's only then that we can make our way towards a better GLBTQ future.

The book- "Parrotfish" is a funny and tender light read that nonetheless has content that will provide serious discussion. It asks the question, between the lines of straight and gay, male and female, how does what the youth hem or herself wants fit in? Why is gender such a big deal? Grady Katz-McNair is by all accounts a very ordinary boy, except he's not.

     You see, Grady is Angela, a biological female, and vice versa. Angela/Grady is a smart, funny, and razor-sharp transgendered teenager. 'His' family is shocked when he comes out as Trans, and why shouldn't they be? It's a big change. But Grady doesn't think so. This is who he's always been, only now he has gone the whole nine yards- cutting his hair, binding his breasts, and swapping 'Angela' for a more masculine name.

   Grady requests acceptance- and reactions at home and school run the gamut, from horrified and horrifying to accepting to somewhere in between. Grady finds unlikely allies in Sebastian Shipley, the High School geek, and Kita, a fierce beauty and Grady's first love interest, while growing further and further away from his old friend Eve, who has starting hanging out with some very nasty girls.

   An interesting technique that is used in this book is the ironic, imagined conversations Grady comes up with. In these talks, people say what they really think, and everything is out in the open. Many writers would write over-the-top, unbelievable dialogue just to be funny, but author Ellen Wittlinger finds away around this and also, in doing so, adds humor and credibility to Grady's character.

   I wasn't sure about some of the side characters. Sebastian seemed like a little too much of a super-nerd who always runs to Grady's defense, is blisteringly intelligent, and doesn't care what anybody thinks. Kita was a little aggressive. A good example of her aggression is when she goes ballistic because there was a drag comedy routine at high school and believes that Grady's rights are being infringed upon. I mean, burlesque acts involving cross-dressers have been going on for years, and so what? They're just for fun.

  My dad did a Miss Emergency Pageant in full drag, but not to be offensive to transsexuals. You can do it in a way that is offensive and homophobic. But that's not the only option. So, I think Kita overreacted. And she and Sebastian are somewhat one-dimensional. But they don't ruin a very entertaining book.

"Parrotfish" is a LIGHT read, emphasis on light, so don't expect literary gold. But you can still learn from it. Grady is a hilarious and lovable character. He's extremely intelligent and sarcastic, which just makes him more lovable. But he just wants to be himself yet still receive his family's approval. I also loved the character of Miss Unger. She doesn't turn out to be how I first thought she would at all.

   This book is thematically similar to "Luna" by Julie Anne Peters, and has a blurb by Peters on the back. "Luna" is a little more literary, but I like them both in their own way. "Parrotfish" is a lot of fun yet sensitive to its subject matter. I also think it would make a great movie if the they cast it right.

    None of the A-list young Hollywood starlets would pass as a boy like Grady does, so I think they'd have to cast an unknown, and also pick someone who actually looks about sixteen (okay, I think I have a pet peeve with alternately hulking and buxom thirty-year-old actors playing fifteen- and sixteen-year-olds.) I'd recommend this book to the open-minded and those who remember being a teenager.
                                                                Rating-
                                                                   8.0/10

Undertow (2009)

Not to be confused with the 2004 Josh Lucas Dermot Mulroney rural thriller, 2009's "Undertow" is quite simply a delight. It stands as the debut feature of Latin filmmaker Javier Fuentes-León, but luckily his newness to the craft doesn't show. Well-acted, made, and written, "Undertow" takes to the concept of ghostly unrest with a warm, offbeat spirituality.

   The film takes place in a small Peruvian village where everybody is up everybody else's butt by habit. Not a good place to be gay. So local fisherman Miguel (Cristian Mercado) retreats deeply into the closet, complete with wife and unborn child, while he carries on a steamy but loving affair with the village outcast and artist, Santiago (Manolo Cardona.)

   Miguel's wife, Mariela (Tatiana Astengo) is a nice person, and she performs her wifely duties. Why is this happening to her, she laments as she becomes aware of Miguel's unfaithfulness. When Santiago unexpectedly dies, his spirit stays bound to earth and remains with Miguel. Together they are happy, but Santiago's ghost longs to move on.

   There are no scares in this film, and no villains. Even the town gossip Isaura (Cindy Díaz) turns out not to be so bad. There are myriad differences between this and an American movie. First is Miguel's lack of disbelief at his lover's ghostly return. The body is missing, and Santiago looks the same. In a US film there would be lots of frantic, maybe comedic attempts to prove that Santiago is in fact dead.

   Maybe there would be gags involving ghosts popping up at inopportune moments, and people walking right through ghostly entities. And maybe there's a bit of that, but the whole thing is taken much more naturally than one might expect. Santiago is dead. He has come back as a ghost. Miguel almost immediately believes him because, honestly, who would make up a thing like that? He needs no proof. He goes on faith.

   It takes a very spiritual society to do something like that with a ghost story. What proceeds is the touching examination of the men's love from beyond the grave, and Mariala's increasing grief and disenchantment. The men of the village are fairly homophobic, but they're never portrayed as meaner than the plot requires them to be. The acting is great from Mercado (Miguel,) Cardona (Santiago,) and Astengo (Mariela.) All three are thoroughly believable in their roles.

   If you're looking for a scary, fright-filled horror movie this is not for you. If you're looking for straight-out gay erotica this is not your movie either; the sex scenes are brief and non-explicit. But if you want to see a touching picture that will make you think and, perhaps, put a tear in your eye, this is for you. The supernatural element is pulled off gracefully, as is the human interest element. You will care about these characters, and you might even find yourself thinking about them when the movie is over.
                                                                Rating-
                                                    9.0/10

The Last Summer of La Boyita (2009)

 "The Last Summer of La Boyita" is a sweet and humane film about a willful young girl struggling to understand the complexities of sex and gender. Despite content involving burgeoning sexuality and youthful curiosity, "La Boyita" never seems exploitative or tawdry. On the contrary, it is a wonderful film about the friendship between the girl, Jorgelina (Guadalupe Alonso) and an intersexed farmer's son, Mario (Nicolás Treise.)

   Jorgelina is a somewhat entitled little girl living in Argentina who spends the summer with her doctor father (Gabo Correa) in a rural area. While vacationing there, she immediately takes an active interest in Mario, the low-key son of a farmer who has been pulled out of school to work full-time on the farm. Living with few joys or options, Mario is further burdened with a destructive secret- he is intersexed (popularly coined a hermaphrodite.)

   Cursed with both male and female reproductive organs, he must live in fear that someone will discover his secret. Jorgelina takes a prepubescent fancying to Mario, and becomes curious when his strange sexual status is almost accidentally revealed. Meanwhile, Mario prepares for a horse race that will prove his manhood to the other young lads.

   The child actors are wonderful, but the stand-out performance is Mirella Pascual as Elba, Mario's mother. She effortlessly plays a woman to whom life has dealt a shit-ton of pain and sadness. Mario's father, a rather brutish man (Guillermo Pfening) seemingly humiliated by his son's gender abnormality, refuses to take Mario to a professional for fear of embarrassment. He's good too. Actually, the whole cast is quite fabulous.

   I honestly don't have anything bad to say about this movie. Beautiful cinematography, natural acting, delightful leads... It's sad and sweet and wistful all at the same time. The plot can be a little slow, but if you like nuanced, slow-paced movies like I do you will forgive the film it's occasional sluggishness.

   What impressed me most about "The Last Summer of La Boyita" was the natural way the dealt with the boy's affliction. It's easy to take a schoolboy's stance on a subject like intersexuality, snickering and clowning around a serious topic. It is also easy to turn the whole thing into a lurid melodrama. It is harder to show restraint and sensitivity to a rare but still prevalent issue. I highly recommend this movie to anyone.
                                                                            Rating-
                                                        9.0/10

                                                       

East is East (1999)

 Incorporating a blend of humor and heartbreak with ethnic issues, "East is East" sometimes seems awkward and wrong-headed, but it's successes are more plentiful than it's failures. The talented cast is a big plus, led by Om Puri and Linda Bassett as the wildly divergent parents, and Jordan Routledge as the adorable youngest child, Sajid.

   Manchester, 1971. George (Puri) is an old-fashioned Muslim and stern father of seven rebellious children, who are more white than Muslim and resent their father's interfering ways. Their mother, Ella (Bassett,) is an fairly assertive and modern British lady who tries to work out disagreements within the family. When Nazir (Ian Aspinall) panics during an arranged marriage ceremony and walks out on his bride, the clan is thrown into discord.

   As George becomes increasingly domineering and abusive, Sajid clings to his childhood like his well-worn parka that he never takes off. Ella tries to maintain some control over the deteriorating situation, and George becomes determined to marry off two of his oldest sons to two ugly brides.

   The odd mixture of strident comedy and domestic drama doesn't always work. Something like a amorous Great Dane or a vagina-shaped art project might seem mildly funny, but seems discordant among frank scenes of domestic violence. The acting is strong from the leads, and they help the movie quite a bit along the rough patches.

   Jordan Routledge is cute and expressive as the youngest lad of the family. Linda Bassett is convincing playing the frustrated, beleaguered matriarch, and while I didn't agree with all her decisions, I sympathized with her for the most part. George is not a cartoon cutout villain, but I think his treatment of his family might have been treated a bit more seriously if he weren't a 'traditional Muslim man.'

   Ella might defend her husband, but we modern girls know better- if a man gives us a black eye and menaces our children, he is O-U-T out! Religion is neither a defense or an excuse. *SPOILER ALERT* I don't like how she gets back together with him at the end. I guess it happens, but it wasn't a satisfying ending. She should have shown that b**tard the door. *END OF SPOILER*

   For the most part, "East is East" is a charming movie. I liked the character-based humor and the kids' antics. It would be annoying growing up in a big family like that. You wouldn't have any privacy! The kids were pretty much stacked on top of each other like a cheese sandwich. I had some problems with the film but overall I liked it.

   I think the treatment of the unattractive women in the film could've been a little less cruel, but like the ending, it's a reality of life that might not be pretty to face, but exists all the same. The world has a long way to go when it comes to being unbiased and dispelling shallow values. Overall a good movie.
                                                              Rating-
                                                7.5/10

North Sea Texas (2011)

Back in the 50's and 60's, any movie that dealt with gay themes was radical and ahead of its time. A GLBT film didn't have to be insightful or even particularly good -- the filmmaker was risking his credibility and his career just putting himself (or herself) out there.

   Now, however, things have changed, with entire gay film companies making movies available at the click of a button. Directors of these movies must not merely be willing to make movies -- they must be the best they can be, and no less. Movies about the gay experience are in high demand, and makers and distributors of these films don't need to be afraid anymore.

   There have been some extraordinary films made about gay issues the last few years- "Weekend," "Tomboy," "Pariah," and "Gun Hill Road," to name of few ... and  Belgian filmmaker Bavo Defurne's "North Sea Texas" has garnered some acclaim. Unfortunately, "North Sea Texas" is a disappointment, marred by uninteresting characters and a rushed pace.

Gun Hill Road (2011)

   Compelling from beginning to end, "Gun Hill Road" is a powerful and touching picture about race, gender, and family that refuses to incorporate stereotypes or cliches into it's scorching script. The three leads serve up great performances in a movie that offers no pat solutions for it's tough subject matter.

   Mexican tough Enrique (Esai Morales) gets out of prison to find his world has changed dramatically- his wife, Angie (Judy Reyes,) is involved with another man, while his son Micheal (Harmony Santana) is looking and behaving more and more like a girl.

   Michael, who is transgendered (and played by a real-life intersexual,) who has ambivalent emotions about his dad getting out of the can, is saving up his money for a painful and strenuous sex reassignment surgery, and his traditional dad is not even close to accepting his son's identity as a woman.

Hide and Seek (1997)

Honestly, I think they should have gone one way or another with this movie -- the half documentary, half film narrative doesn't quite work, and I'm still struggling to figure out why. "Hide and Seek," not to be confused with the De Niro/Fanning thriller, is the story of Lou (Chelsea Holland,) a adolescent girl forging her identity as a lesbian in the 1960's.

   Interspersed with this narrative are interviews with a variety of gay women. The women courageously tell stories about their experiences with sexual awakening. Meanwhile, the child actors give brave performances in the fictional narrative.

   Lou is friends with Betsy (Ariel Mara), while experiencing growing affection toward an African-American classmate. School mean girl Maureen (Alicia Manta) eyes Lou suspiciously, while spreading rumors about the alleged sexuality of her schoolteacher.

Any Day Now (2012)

Alan Cumming is one of the most eccentric and talented character actors in the business, and "Any Day Now" allows him to stretch his acting muscles in a rare leading role.

 Set in 1979 California, "Any Day Now" tells the story of Rudy Donatello , a gay nightclub performer who enlists the help of his rich lawyer boyfriend Paul(Garret Dillahunt) when his next-door neighbor, a mentally handicapped teenager, is abandoned in Rudy's dive of an apartment complex by his drug addled mother.

   The kid, Marco, is taken in by the two men, who give him hope for a better life. "What do you eat for breakfast?" Rudy asks, to which Marcus answers, "Doughnuts." The kid's not joking. Mom, in her infinite wisdom, has been presenting her obese son with a daily serving of chocolate doughnuts, the cornerstone of any nutritious breakfast.

WIld Tigers I Have Known (2006)

"Wild Tigers I Have Known," Cam Archer's visually striking but somewhat self-indulgent debut, is an abstract and meandering portrayal of teen angst and burgeoning sexuality. Its youthful protagonist, Logan (Malcolm Stumpf), seems perpetually caught between a daydream and and the harsh, uncaring real world.

 Sounds kind of like Guillermo Del Toro's "Pan's Labyrinth." Except that movie actually had substance. Oh well. This movie at least looks pretty, and art-chic-happy film students might find more to love in the film than I did.

   13-year-old Logan is lonesome soul, given to walks on the beach and recording himself going on a abstract tangents. He also is in the midst of discovering his sexuality (gay as a maypole) while harboring a crush on Rodeo Walker (Patrick White), the most popular boy in school.

Summer Storm (2004)

Tobi (Robert Stadlober) is at that age when young adults wonder who they are, what they want, and where, if anywhere, they fit in. Unfortunately, what Tobi wants is quite obvious and unattainable: his straight best friend, Achim (Kostja Ullmann), who seems oblivious to Tobi's affections.

   "Summer Storm" is the story of Tobi's coming out, Tobi's boat rowing team championship, and Tobi himself, a fragile young man who hides behind a mask of goofball lovability to avoid confronting the world head-on.

   Similarly compelling are the trials of Tobi's girlfriend Anke (Alicja Bachleda), who tries to understand the deep feelings Tobi has for his best bud. The only subplot that I thought did not work was the attempts of a member of the openly gay opposite team, Queerstrokes (cute, huh?) to seduce an apparently straight homophobe.

James (2008)

   James (Niall Wright) -- lonely, young, miserable, and gay -- craves the acceptance of his English teacher, Mr. Sutherland, but Mr. Sutherland's discomfort with James' sexuality may spell disaster for the solitary young man.

   I watched this short on Youtube, and found it to be a very watchable and moving experience. Niall Wright was very strong in the lead role ... where did they find this kid? The script was tightly written and never far-fetched- myriad tragedies befall James, and all of them seem believable.

  James seems like a smart and sensible boy prone to occasional bad choices, and I immediately liked and empathized with him. I don't think I've ever liked the character in a short film more.

Film Review: The Perks of Being a Wallflower

Dear Logan Lerman,

I am sorry I misjudged you based on your part in the miserably disappointing adaptation of The Lightning Thief.  You can't be blamed for the fact that filmmakers butchered one of my son's and my favorite read louds, and usually one's acting ability can only shine in porportion to the quality of the role, script, and direction.

Apparently you had tremendous hidden talent that is now ... well ... no longer hidden. You're an exceptionally gifted young actor. I look forward to seeing your career blossom.

Jesus Henry Christ (2012)

Unfairly bashed by critics as self-consciously quirky and "hipster," "Jesus Henry Christ" is a entertainingly quirky little film, featuring highly intelligent characters who must find their own way towards being happy.

Henry James Herman (Jason Spevack) is an enigma, a brilliant youngster raised by his single mother Patricia (Toni Collette.) Henry has a keenly incisive mind and a photographic memory, but there is one thing he doesn't know... who his dad, an anonymous sperm donor, is.

Enter dweeby professor Slavkin O'Hara (Michael Sheen), whose latest mistake is putting his 12-year-old daughter Audrey (Samantha Weinstein)'s face on his new book, Made Gay or Born That Way? Audrey, as it turns out, is gay, but she's not ready to be outed just yet, and Slavkin's bug-up provokes the merciless taunts of her peers.

Film Review: Weekend

Written & Directed by: Andrew Haigh

Year Released: 2011

My Rating: 5/5 stars

Short Film Reviews: My Summer of Love and Ladybird, Ladybird

Book Review: Annabel by Kathleen Winter

Publication Date: 2011

Publisher: Black Cat, Grove/Atlantic, Inc.

Format: Paperback

Genre:  Literary Fiction

Why I Chose It: Recommended by numerous bloggers, including Adam at Roofbeam Reader

20 of Our Favorite Coming of Age Movies (Part I)

We're looking forward to The Perks of Being a Wallflower. I've heard nothing about good things about both the novel and film -- and the blogs I follow, including Film Actually, have been praising this movie. Once we shrug off some lingering prejudice against Logan Lerman for his role in the disappointing adaptation of The Lightning Thief -- I hear he's actually a very good actor -- and stop expecting Ezra Miller to come out with a crossbow and a menacing expression, I'm sure we'll enjoy the film. :-)

On this note, I've compiled a list of 20 of our favorite coming of age movies. In no particular order:

Film Review: Pariah

 
Year Released: 2011

Director: Dee Rees

Screenplay by: Dee Rees

Rating: (4.5/5 Stars)

Pariah opens at a nightclub that caters to lesbians; we hear raunchy music and see a particularly limber pole dancer flaunting her talent. After glimpsing this scene, the youth and innocence of the 17-year-old protagonist Alike (Adepero Oduye)  and her best friend Laura (Pernell Walker) come as a bit of a surprise.

I immediately warmed up to these two young women. Alike is exceptionally bright and creative. She is somewhat shy and reserved but has a smile that could light up a room. Laura is a bit edgy and boisterous. She works hard to make ends meet and pass the GED after being abandoned by her mother.

Our first glimpse of Alike is memorable. Instead of a camera zooming in on her, we see a tight shot of her back and face. This sets the tone for the movie. It's very intimate and real. I found myself feeling as if I were in Alike's skin, and when she was hurting, I had knots in my stomach.

Fingersmith by Sarah Waters

Seventeen-year-old Susan Trinder has been raised in a house full of "fingersmiths," thieves and con artists, in Victorian London. Her foster mother, Mrs. Sucksby, is a "baby farmer," fostering children for money. The house is full of babies who are quieted with doses of gin, a brazier who melts down stolen goods, and young girls work the streets, begging and swindling. In the midst of this, a bond forms between Susan and Mrs. Sucksby, who singles her out for special attention and care, treating her like her own daughter.

Nevertheless Mrs. Sucksby colludes with a swindler called Gentleman to involve Susan in a scheme to rob an heiress of her inheritance. The target of this plot is Maud Lilly, a girl about Susan's age. Maud, who works as an assistant to her scholarly uncle, is harboring dark secrets of her own. Susan and Maud come to care for each other in ways they'd never expected, but their feelings are likely to be tossed aside as they fight for their own survival in a world of dark schemes, cruelty, and narrowly proscribed roles for young women.

This novel is written in Victorian style, with elegant language and careful, detailed descriptions. Like Dickens, the author takes us into the poverty and desperation of the London streets, and like the Brontes, she leads us to a dim, drafty Gothic mansion with dark secrets.

However, Sarah Waters also brings modern sensibilities to this novel. The result is an intriguing period piece that offers a glimpse at the dark underside of upper class Victorian England, beneath its careful manners and puritanical mores, as well as a vivid picture of lower class life in the London streets. It also explores the unlikely ways we find love and intimacy and the conflict between affection and compassion for others and the desperate struggle to survive at all costs. And as Kristen eloquently put it, this book offers so many plot twists, it resembles nothing so much as a DNA double helix.

This well researched historical novel also offers many layers of fodder for discussion, especially about women's issues. We were transported to a time when marriage -- in the words of one character -- was legalized rape and robbery. This is a cynical view but not far from the truth. Women were not allowed to own property -- everything they had legally belonged to their husbands. And there were no laws against marital rape.

In this era, mental hospitals were used by husbands as a way of disposing of wayward or unwanted wives. Physical intimacy between two women was grounds for being committed to a "lunatic asylum." And, if one scene in this book is to be believed, allowing a young woman to overindulge in literature was thought to cause insanity. Apparently it causes the "organ of fancy" to become inflamed, provoking psychosis. :-)

The breadth of the social issues Sarah Waters explored amazed me. The most compelling part of this novel, however, is the characters. The heroines are not paragons of virtue; they have been misshapen by destructive circumstances and are often selfish and cruel. However they are intelligent, thoughtful, and thoroughly human. And there are luminous moments when courage and love win over everything else. These women -- and this story -- will be difficult to forget.

Read More Reviews: S. Krishna's Books; Eclectic/Eccentric; Zen Leaf; Things Mean a Lot; BookNAround

Rating: 5

5- Cherished Favorite	4 - Keep in My Library	3 - Good Read	2 - Meh	1 - Definitely Not For Me