‘Plainclothes’ Review: Tom Blyth and Russell Tovey Smolder and Sweat as Closeted Gay Men in Bristling Police Entrapment Drama

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A movie that feels distressingly familiar to those who recall the years filled with embarrassment, fear, and secrecy, “Plainclothes” focuses on a young police officer tasked with an undercover operation, apprehending gay men seeking intimate encounters in a mall located in Syracuse, New York. The role requires him to act as bait, but his reluctance fades as he grapples with his own sexual identity and becomes increasingly entangled with a fellow closeted man. Despite the first-time writer-director Carmen Emmi’s excessive use of grainy video and distorted audio, which can be intrusive at times, compelling performances by Tom Blyth and Russell Tovey hold your attention throughout this emotionally charged, realistic, and gritty drama.

Back in the ’90s vibes, “How Bizarre” by OMC echoed through a mall’s speakers, instantly transporting me back to those days. Sitting in the food court, I was more than just a cop – I was bait, luring gay men on the prowl. A subtle exchange of glances, a nod or a faint smile, and our secret communication was established. My target would lead me into the public restroom where the mirrors reflected less furtive glances between us.

As a detective following Lucas’s footsteps, I find myself navigating a maze of intricate guidelines. I can’t engage in conversation with the suspect, avoid any form of physical contact, and refrain from joining him in the restroom. My mission is to create an atmosphere that encourages him to incriminate himself, then I exit, signaling my partner to move in for the arrest. While it may seem like entrapment, I take great care to ensure we stay on the right side of the law.

It’s astonishing, though it shouldn’t be given the current efforts by conservative lawmakers worldwide to curtail LGBTQ rights, that such deceitful methods for targeting gay men were still prevalent as late as 1996 – and may still be in practice in certain areas today. The covert operations portrayed in Plainclothes appear strikingly similar to the homophobic persecutions of more than half a century past.

One notable instance involved the apprehension of acclaimed actor John Gielgud in 1953, an individual generally reserved when discussing personal matters. This arrest took place shortly following his knighting, and it concerned a practice known among Britons as “cottaging,” a term referring to cruising for sexual encounters in public toilets.

Back in the day, when rumors swirled about my potential suicide and the looming threat of career ruin, I found myself in a tricky situation. It all started when I took notice of an undercover officer hanging around a public restroom’s urinal in London’s upscale Chelsea district, who was apparently posing as a regular guy. My curiosity led me to a charge of “persistently soliciting men for immoral intentions.” I owned up to my actions, weathered the storm of tabloid scandals, and somehow managed to maintain my flourishing career. The icing on the cake was winning a Best Supporting Actor Oscar in 1983 for my role as the cool-as-a-cucumber butler alongside Dudley Moore’s tipsy billionaire in Arthur.

As a gamer, I can’t help but notice that not everyone’s luck is as good as mine in this virtual world. Undercover officers often round up married men with families, who end up pleading guilty to avoid the embarrassment of court. The character I play, Blyth’s Lucas, grapples with an internal turmoil, knowing that his actions could be tearing lives apart. This conflict is skillfully portrayed by the actor through tense body language and a nervous habit of scratching his palms.

Public men’s rooms have been portrayed in various films as popular gay cruising spots – either as a lively playground, as seen in German director Frank Ripploh’s influential semi-autobiographical queer film Taxi zum Klo; or as a quick route to imprisonment, as depicted by Austrian filmmaker Sebastian Meise in his movie Great Freedom, featuring Franz Rogowski as a repeat offender who was penalized under a law that was strictly enforced during the Nazi regime’s pink-triangle campaign. This law remained in effect until the late 1960s.

The video for the song “Outside,” which was released by George Michael in 1998 after his arrest for public indecency, has also been a playfully defiant gesture, filled with humor.

The “Expanded ‘Outside’ Video” begins by mimicking a fictional Swedish porn film featuring a heterosexual relationship, followed swiftly by a brief excerpt of the American national anthem. This transition leads us to modern-day Hollywood, showcasing passionate encounters between both gay and straight couples, as well as arrests. The most playful scene involves a public restroom transforming into a dazzling dance floor, where Michael is seen leading a lively dance while wearing a police uniform and singing lyrics such as “I’d serve the community, but I’ve already done so.” The video concludes with two male officers sharing a passionate kiss after making arrests, followed by a shot of a rooftop sign reading “Jesus Saves.

In the film “Plainclothes“, Lucas’ struggle with law enforcement hypocrisy isn’t central to the story, as his internal turmoil stems from years of repression. Born into a working-class family and following in his grandfather’s footsteps as a cop, Lucas has admitted his attraction towards men only to his compassionate girlfriend Emily (Amy Forsyth). Faced with this conflict, he decides to end their relationship. As his father, Gus, lies critically ill, Lucas feels compelled to shield his mother, Marie (Maria Dizzia), from any potential scandal by keeping his secret.

Emmi skillfully scrambles the sequence of events as she blends together scenes from a family New Year’s celebration, where she grows anxious that her secret might have been exposed to her uncouth uncle, Paul, who is known for exploiting Emmi’s sister, Marie.

However, the significant events trace back several months to when Lucas began feeling uneasy at work, a situation not overlooked by division lieutenant John Bedford Lloyd or operation sergeant Christian Cooke, both of whom harbor deep-seated homophobia. Later, they change tactics, casting good-looking rookie cop Jeff (Darius Fraser) as the bait, assuming a fresh face would attract more arrests, and shifting Lucas into a partner role. Emmi and DP Ethan Palmer intensify the suggestive undertones in the police workout routines, with Lucas’ furtive glances putting him at risk of being discovered.

The catalyst that leads Lucas to tipping point happens earlier, specifically when he receives a captivating glance from an older man (Russell Tovey with salt-and-pepper hair and glasses), who humorously whistles the lively tune of “When the Red, Red Robin Comes Bob, Bob Bobbin’ Along” as he enters the men’s restroom.

The series of events that pushes Lucas over the edge begins earlier, with a charming glance from an older man (Russell Tovey sporting salt-and-pepper hair and glasses), who amusingly whistles the upbeat tune of “When the Red, Red Robin Comes Bob, Bob Bobbin’ Along” while entering the men’s room.

Lucas trails after an unknown individual and disregards the rules by entering the restroom with him. However, as the elderly man tries to calm down the officer, he suddenly flees, indicating to his fellow law enforcement member that no arrest is necessary. On exiting the mall, the stranger passes a piece of paper containing a phone number to Lucas.

After some time spent pondering, they establish a connection. An elderly gentleman, introducing himself as Andrew and sharing details about being a married family man, working in an unspecified sector of administration, proposes their encounter at a grand cinema playing classic films – specifically, Syracuse’s Landmark Theatre. Despite his apprehension, Gus, who reveals his name to be Lucas, remains too jittery for much interaction, but they grow close enough to sense the chemistry igniting between them.

The coming week, Andrew plans their encounter at a secluded forest trail that leads to an unoccupied greenhouse. This setting provides a stunning backdrop for a heartwarming moment of affection, liberty, and enlightenment, as Lucas encounters the exhilaration of connecting with another gay man for the first time. Andrew clarifies that he rarely sees individuals more than once, subtly hinting to Lucas that there won’t be a second date. However, this doesn’t rule out a passionate encounter in Andrew’s car.

In the ensuing weeks, Lucas finds himself fixated on nothing else, a torment reminiscent of one’s initial romantic obsessions. After jotting down Andrew’s license plate number, he uses it to track him at work, clinging to the hope that their sexual encounter would blossom into love. Unfortunately, things don’t go as planned, unveiling significant truths and causing Lucas to make hasty decisions, though possibly guiding him towards a deeper understanding of himself.

Emmi seems anxious about his debut as a director, evident in his reluctance to rely solely on the power of the story without resorting to excessive gimmicks. The inclusion of video footage works effectively when it’s CCTV footage recorded by police through a one-way mirror in the men’s room at the mall, or when it’s home movies from Lucas’s childhood.

Undeniably, the shaky visuals, abrupt cuts, and disconcerting audio are meant to mirror Lucas’ apprehension. However, these elements can appear arbitrary and excessive, leaving one yearning for the director to concentrate more on the exceptional performances of his cast, as they navigate the complex emotions of longing, sorrow, desperation, and dread. There comes a point where we’ve seen enough close-ups of drab ceiling tiles and stark lighting to understand the profound sadness lurking beneath interactions in unromantic settings.

To clarify, “Plainclothes” is undoubtedly a film that deeply understands the challenges queer men faced during the pre-Grindr period, struggles that may continue for many today. It’s an emotional tale skillfully portrayed with compassion and delicately acted by its principal actors.

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2025-01-30 06:26