The point when Alan Cumming turns on his radiating smile in “Any Day Now,” Travis Fine’s activist tragedy, he passes on such exceptional, unguarded feeling you practically need to deflect your eyes. That grin, and the bursting execution it distils, passes on so savage a mixture of longing, damage, resistance, strength, poverty and total surrender desert that it makes other people appear to be fearful. You think about the genuine significance of the Jerry Herman song of devotion, “I Am What I Am,” from “La Cage aux Folles,” as it is lived out in extremis by one ostentatiously gay man.
Mr. Cumming plays the character of Rudy Donatello, a transplanted New Yorker who is the free-lively lead lip-syncher in a group of drag queens winning a small living in a West Hollywood bar. It is 1979, and Rudy is first seen onstage mouthing the words to France Joli’s disco hit “Come to Me” with a ridiculous pleasure. Rudy, who longs for being a real club artist, later conveys the same melody as a moderate, delicate anthem in Mr. Cumming’s engaging voice.
One night he lures a modest, straight-looking stage-entryway Johnny whom he winds up orally adjusting in an auto outside the club. The point when a cop bothers them, Rudy’s lover, Paul Fleiger (Garret Dillahunt), uncovers himself as a right hand region lawyer, turns the tables and blames the officer for drawing a firearm on unarmed regular folks.
Rudy exists in a ratty a few doors down from Marianna Deleon (Jamie Anne Allman), a medication dependent whore whose propensity of impacting music throughout the night makes him insane. She has a 14-year-old child, Marco (Isaac Leyva), with Down syndrome.
Marianna is captured on a medication ownership charge and sent to prison the exact night when Rudy thumps on her avenue to gripe. Rudy, who is behind on his rent and in fast approaching peril of removal, rashly takes it upon himself to administer to the deserted Marco. A sweet kid who seldom talks however reacts to friendship, Marco grasps a blondie female doll wherever he goes. The main sustenance he prefers is doughnuts.
Whatever remains of the motion picture takes after Rudy and Paul’s battle to addition care of Marco, whom no one else needs. Rudy and Marco move in with Paul, who imagines that Rudy is his cousin on the grounds that they know they have no chance for guardianship as an out gay couple. Yet to most individuals the reality of the situation is transparent. The main totally thoughtful grown-up, Miss Fleming (Kelli Williams), is Marco’s educator in an uncommon requirements school where the kid thrives.
“Any Day Now” is an insulted, unblinking delineation of systematized homophobia three decades back, when the predominating court idea in selection cases was that laying open a youngster to a gay person environment was destructive. Don’t bother that no one else needs Marco. In the eyes of the law then (and even today to an extensive degree), a foster home or a foundation for the handicapped was ideal. The screenplay, by Mr. Fine and George Arthur Bloom, cunningly broadcasts what cherishing watchmen Rudy and Paul make in two home-film successions.
Much like Harvey Fierstein’s Arnold Beckoff in “Light Song Trilogy,” Rudy is a savagely blunt mouthpiece for equity and gay rights. As he badgers Paul to be overcome and go out on a limb, you think about what number of men might endure an accomplice who unendingly exists on the edge of insanity and declines to be hushed actually when he knows he ought to stay silent.
Their provincial association is glorified. Practically overnight, it appears, the uproarious, anxious Rudy, and the liable, closeted Paul are valiantly dedicated live-in darlings battling the legitimate station. What loans Paul’s transformation some dependability is Mr. Dillahunt’s understated depiction of a character whose fuming feeling of bad form has dependably been there. It required just to be stirred by a torch.