Product Details

• Actors: Steve John Shepherd, John Simm, Laura Fraser (II), Maurice Roëves, Ger Ryan
• Format: Color, Widescreen, NTSC
• Language: English (Dolby Digital 2.0 Surround)
• Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  
• Aspect Ratio: 1.85:1
• Number of discs: 1
• Rated: Unrated
• Studio: TLA Releasing
• DVD Release Date: September 4, 2001
• Run Time: 100 minutes
• Average Customer Review: 3.2 out of 5 stars  See all reviews (24 customer reviews)
• ASIN: B00005LQ0D
• Amazon Best Sellers Rank: #65,383 in Movies & TV (See Top 100 in Movies & TV)
• For more information about "Forgive and Forget" visit the Internet Movie Database (IMDb)

Editorial Reviews

FORGIVE AND FORGET - DVD Movie

Customer Reviews

Most Helpful Customer Reviews

26 of 29 people found the following review helpful:

4.0 out of 5 stars Questionable motives undermine classy drama, October 19, 2001

By 

Libretio - See all my reviews

This review is from: Forgive and Forget (DVD)

FORGIVE AND FORGET

(UK - 1999)

Aspect ratio: 1.78:1
Theatrical soundtrack: Dolby Digital

The life of young, working-class David (Steve John Shepherd) is thrown into turmoil when his best friend Theo (John Simm) - with whom David is secretly in love - sets up home with art student Hannah (Laura Fraser), sidelining David, perhaps forever. David's subsequent attempts to disrupt Theo's relationship with Hannah and come to terms with his own sexuality has far-reaching, potentially devastating consequences...

Aisling Walsh's British telefilm - which takes its title from a cringe-making TV confessional show that figures largely throughout the film - examines the theme of a strong relationship threatened by an outsider, and is set against the backdrop of London's ultra-macho building trade, an aspect which dispels the possibility of gay stereotyping whilst simultaneously turning the dramatic screws for the central characters. But our sympathies for David - consolidated in a heart-wrenching scene when Theo asks him: "How do you tell someone you love them?", blithely unaware of David's feelings, and oblivious to the turmoil which such a question might provoke - are neatly challenged by his selfish betrayal of Theo's romance with Hannah. How the viewer reacts to the complex ambiguity of the closing sequence depends on how far you're prepared to 'forgive and forget' David's blind, reckless stupidity.

Walsh and writer Mark Burt recorded an audio commentary for the original US DVD release, where it became obvious they intended the movie for a predominantly straight audience. David's sexuality is never explored in any great detail and is used as little more than a device to facilitate the drama, though some gay viewers may find this matter-of-fact approach unusually refreshing. But while director and author provide a detailed analysis of the creative decisions which affected the outcome of individual sequences - the use of locations, color schemes, etc. - they make no attempt to engage with the brief controversy which blew up (in the UK, at least) over the film's ending. Were they even aware that some gay viewers were bitterly divided between those who thought the film simply explored the consequences of betrayal, and those who believed the climax was profoundly homophobic? Viewers are urged to see the movie and decide for themselves.

Though hidebound by the usual TV restrictions, the film's modest production values are thoroughly professional throughout, while Walsh's unobtrusive direction and Kevin Rowley's discreet camerawork allows a superb cast of familiar British actors - including Maurice Roeves and Ger Ryan (the latter went on to feature in the UK version of "Queer as Folk") - to illustrate those small, distinctive characteristics which define the Common Man (and Woman). But the film is anchored by Simm and Shepherd, both veterans of quality TV drama, and widely recognized as two of the finest actors of their generation. Here, they're quietly impressive as close friends who are ultimately divided by their separate needs, and they're given fine support by Laura Fraser as the hapless object of their concerns.

Though intended for television, FORGIVE AND FORGET played theatrically in venues all over the world, mostly in festival slots.

44 of 52 people found the following review helpful:

1.0 out of 5 stars Won't Forgive and Won't Forget It, December 9, 2001

By 

J. Edkin (South Orange, NJ) - See all my reviews
(REAL NAME)   

This review is from: Forgive and Forget (DVD)

I really enjoyed this movie right up until the last fifteen minutes when it fell apart and turned exceedingly nasty, ugly, and senselessly violent.

For the first 75 minutes, this is an engaging film. It deals with two lifelong friends, plasterer David (Steve John Shepherd) and Theo (John Simm). David is gay, but has admitted this to no one, especially Theo, whom he loves. Their friendship is tested when Theo falls in love with the attractive, but insecure, Hannah (Laura Fraser). David and Hannah see in each other a threat to their own relationship with David, and they each take steps to undermine the other. It's petty, it's painful, but it's human. The performances by the three leads are realistic and heartfelt. The script by Mark Burt and the direction by Aisling Walsh are solid when they deal with the three leads. (I am less convinced by the direction of, writing of, and acting by David's coworkers.)

However, the movie falls completely apart in the last fifteen minutes. The climax takes place on the set of a fictional TV show called "Forgive and Forget" where one guest admits a transgression while the sinned against listens and declares whether he or she can forgive and forget. After David does something that drives a wedge between Theo and Hannah, he arranges an appearance on the show for him and Theo. I assumed that it would be to admit what he'd done that hurt Theo's relationship with Hannah. That would have made for good storytelling.

Instead, writer Burt wrenches the story in a completely different direction, and one that has caused other reviewers here to call the film homophobic. It's hard not to agree with that assessment. Burt has David ask forgiveness from Theo for being gay, as if this is something that must be forgiven! As offensive as that is, the final scene where the two confront each other after the show is even more heinous and completely undermines the rest of the movie. It is ugly, it is violent, and the last image of Theo walking away from David implies that writer Burt and director Walsh endorse the actions taken by the character Theo. It's thoroughly repulsive.

I can not, in good conscience, recommend this to anybody.

I have not listened to the commentary track, although there is one. I'm not sure I want to listen to Mark Burt and Aisling Walsh trying to justify their work.

I would suggest giving this a skip and go directly to the British "Queer as Folk (series one)", "Get Real", "My Beautiful Laundrette", "Maurice", or "Boyfriends"

(C)2001 Joe Edkin

11 of 12 people found the following review helpful:

3.0 out of 5 stars Flawed Slice-of-life Movie Worth Watching, June 17, 2003

By 

Robert Amsel (Steelton, PA USA) - See all my reviews
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This review is from: Forgive and Forget (DVD)

I do not find the movie itself homophobic, although the subject matter deals with homophobia in less than profound ways. The central character, David, is a working class closet case who secretly loves his best friend, Theo, a straight man involved in a serious relationship with an insecure woman, Hannah. Hannah, in turn, has recently broken up with a long-time lover due to his infidelities. David underhandedly plots to destroy Theo's relationship by preying upon Hannah's insecurities and by making her believe that the innocent Theo has been unfaithful. Theo, in turn, helps the disintegration of his relationship along (a bit too conveniently, plot-wise) by lying to Hannah about his whereabouts on a particular weekend. After succeeding in breaking the couple up, David comes out on a national talk show (aptly referred to as "confessional television" by the British) and confesses his love, with unhappy results.

After reading some other reviewers' comments, I'm particularly bewildered by those who expect some type of happy denouement in which Theo sweetly forgives David and the two ride off into the sunset. Maybe in someone's porn fantasy, but not here. I guess my own sense of morality must be terribly quaint and old-fashioned to suggest that David has thoroughly betrayed Theo by nefariously plotting to destroy his happiness "for Theo's own good." Theo discovers the truth of David's plotting, and not through David himself. Theo's subsequent anger and violence toward David has nothing to do with David's alleged love or with homophobia, but it has a LOT to do with a scheming friend's complete betrayal. Even if Theo were gay, is David the kind of man a reasonably adjusted person would want for a lover, let alone, friend?

As for homophobia -- the movie illustrates the day-to-day homophobia found among the English working classes (although, frankly, having lived in England, I find that the worst homophobia is found among the middle classes). However, working class blokes are prone to reticence and have trouble discussing their emotional states, honestly captured here, which is one reason David has such a tough time emerging from his closet. And like all closet cases, David's self-esteem is perhaps not what it should be or could be.

David's addiction to confessional TV and his determination to blow his wad on national television is peculiar and not overly convincing. Granted, the writer sets up from the beginning David's attraction to his favorite TV show, but David's actually admitting his love for Theo in such a manner rings hollow and is in contrast to all his deviousness up until this point. It's just not emotionally true for this up-to-now reserved character. In fact, it's downright stupid, and I suppose one could argue that David is suddenly operating in a self-destructive mode, but I find nothing in the writing of his character to suggest that he would make such a blunder. I think the real character, as presented, would save his confessions of love in a private moment with Theo.

The screenwriter admits that he himself is not gay and is more concerned with a triangle relationship in which betrayal plays a part. And the screenwriter is good at illustrating this. But the subject of living in a closet and finally coming out is, frankly, beyond his scope, and this is where the movie is flawed. Any gay man or woman knows that coming out is a process, a progression that doesn't happen in one overly dramatic flourish, on national TV, no less. And frankly, the movie offers no evidence of any progression for David, who in reality would have to deal with a) coming out and then b) confessing his secret love.

I've mentioned the problem with the unmerited national TV confession and Theo's lying to Hannah about his weekend. The third plot failure deals with Hannah's willingness to believe the worst about Theo based mainly on a phone call Theo receives from another woman (that David has set up). Oh, c'mon! No matter how insecure or tender Hannah's emotional state, the phone call would hardly constitute her going ballistic, and if she's that unbalanced then David is probably right -- Theo would be better off without her. In conclusion, plot trickery is just not a substitute for emotional truthfulness, and this is where this otherwise watchable film ultimately fails.