That was an excellent one.

Lack of good storyline.

The film makes a home in your brain and the only cure is to see it again.

It's easily one of the freshest, sharpest and most enjoyable films of this year.

Documentary on closeted matinée idol Tab Hunter (born Arthur Kelm, later Arthur Gelien) is a wonderful record of the journey the actor took to Hollywood in the 1950s, through Hollywood in the '60s, and back from Hollywood in the '70s. From his teenage days being chased around his high school by smitten female students, Hunter was shy talking about himself and completely private when it came to matters of the heart...and nothing has changed! Though this project was co-produced by his partner of 30 years, Allan Glaser, Hunter is still reticent discussing his homosexuality and the relationships this produced. Fortunately, there are a bevy of acquaintances, co-stars, columnists and friends on hand to lend their insights into Hunter's career, and the well-researched movie and television clips provide amusing nostalgia. Do we get a no-holds-barred glimpse into the faded celebrity of a handsome Hollywood movie star? No, but the benign, matter-of-fact way in which Hunter recalls his life is probably more entertaining (if not emotional) than a soul-searching therapy session might be. Hunter has come to terms with himself and his past, and he's happy to trot off quietly on his horse into the sunset. His movie career has been capped nicely by both his 2006 memoir and this film: a once-famous name and face who now enjoys the finer things in life. *** from ****

Tab Hunter Confidential is based on the actor's 'tell-it-all' book. Don't expect a Hollywood version of 'Dorian Grey'; of a young drop-dead Adonis who, at 85, has lost his looks. Far from it, he may be an 'old man', but he has exercised his druthers throughout his life to let us into his closeted life.Today, we cannot imagine the Hollywood of the Eisenhower era, when young premiers like Hunter captured the hearts of millions of young girls (and boys). Director Jeffrey Schwarz has smartly recovered those days of the '50s through studio photographs, magazines and Hunter's films. Hunter had piercing blue eyes that held you as though against your will; his smile, his seemingly white perfect teeth sparkled, and his bare muscled chest aroused strange feelings of pleasure that in those days, if publicly expressed, would not garner approval.And what's more, Hunter plied his trade through hard work and an inner enthusiasm that made him a star. As his fellow actor Robert Wagner remarked he was a spark that caught fire, for his role in the film version of Leon Uris' bestseller 'Battle Cry'. In a way, his Danny Forrester commits adultery with an officer's wife, a no-no subject of those days, which to a moderate degree stepped on the Screen Code.He was under contract to Warner Brothers, and Jack Warner used all the studio's resources to bolster his career. Tab Hunter had talent as clips from Playhouse 90, a live television show, that proved he was a 90-day wonder, nor go against teenybopper idol type. Furthermore, he had a talent for song: his version of 'Young Love' (which Pat Boone also sang) stayed on the charts at number 1 got six weeks, knocking even Elvis off his pedestal.He had a short-lived television, that bombed for its mindlessness.But Hunter had a secret: he was a homosexual, when, homosexuality was, according to medical authority, a mental disease. Tightly locked in his closet, Warner Brothers publicity department did everything to project an image of him as a boy any mother would want for her daughter. Anything and everything was done to protect the studio's cash cow!For a good idea of 'gay' Hollywood way back then, it is worthwhile to see Bill Condon's 'Gods and Monsters'. The secret got out in the tabloids when he left his agent, and his career dried up when he bought himself out of his contract. As his career dried up, he was forced to take any role he could in very bad films. He found financial stability in equestrianism and dinner theater, but at a price on his health. The strain of doing that form of acting that rewards him handsomely but left him little time for a life was costly, and in early middle age he had a heart attack, and subsequently left the theatre.We get a glimpse of Hunter's love life, that is, as much as he wishes to tell us; he had a good/so-so-good tumble with Anthony Perkins. And at 53, he found his long-time companion Allan Glaser, who produced 'Tab Hunter Confidential'.Abandoned by his father, he was the good son who took care of his mother who had severe mental problems until she died well into advanced age. Brought up a Catholic, he eventually made peace with his church.The spark of his career flamed up again when paired by John Waters with Divine in 'Polyester' and more so in 'Lust in the Dust'. But by then, Hunter sought his life in the comfort of his privacy, making rare appearances.Lightly touched on is his champion-like ability as an ice skater, other than his affair with a star ice skater. And nary a word is spoken of the utter disaster that was in performance with Tallulah Bankhead in Tennessee Williams 'Under Milk Wood'. Eighty-five this July, Hunter has had a full live, a lover of more than 30 years, 30 years his junior, and takes daily pleasure in caring for his horse and riding. Stiff with that stiffness old age brings, he is at peace with himself and looks back on his life with a keen eye and an blue eye on the morrow.

Greetings again from the darkness. "Made it, Ma. Top of the world!" That line was famously bellowed by James Cagney in the 1949 film WHITE HEAT, and it reasonably could have been shouted behind closed doors, a few years later, by Tab Hunter. Of course, that wouldn't have been the only thing Mr. Hunter was keeping behind those doors. In his 2005 autobiography, he came out publicly as a gay man. Director Jeffrey Schwarz takes that book, and puts a very forthcoming Mr. Hunter in front of the camera, to deliver a fascinating, entertaining and educational glimpse at what it was like to be a movie and musical superstar at a time when being a gay man was not just a social taboo, but actually considered a mental illness.Normally, "talking head" documentaries quickly become tiresome, but now in his 80's, Mr. Hunter remains an engaging and delightful man, and he is so sincere and upfront in telling his stories, that we couldn't possibly turn away. In addition, director Schwarz drops in interviews from those who were there. These include: Debbie Reynolds, Connie Stevens, Robert Wagner (filling in his for his deceased wife Natalie Wood), John Waters, George Takei, and Robert Osborne. Each recall moments from real life, with the studio publicity romances (Reynolds, Stevens, Wood) providing the touch of melancholy that brings focus to the matter at hand.Another entertaining touch added by Schwarz is his use of actual dialogue snippets from Hunter's films to deliver punch to a point – sometimes comedic, sometimes more serious. Never succumbing to the career retrospective approach, the film does offer significant film clips, photographs and recollections of Hunter's unique career that found him #1 at the Box Office, as well as #1 on the Pop Music Charts (his recording of "Young Love" knocked Elvis off the top of the charts).The film could also serve as a historical documenting of the Hollywood Studio system, as Hunter's success with Warner Brothers was never to be duplicated once he gained his contractual release (through buyout). We do go through the career re-birth brought about by Hunter's work in the John Waters offbeat classic POLYSTER, where the former matinée idol finds himself making out on screen with Divine, the 300 pound transvestite who was a fixture in Waters' films. Surprisingly, it's Hunter's fearless approach to the material that makes it click.But beyond the Hollywood insight, the film is most effectively the story of a man who, because of his era, had to be one person in public and another behind the closed doors. Hunter describes this as "being rewarded for pretending to be someone you aren't". He speaks frankly about his relationship with Anthony Perkins, as well as a couple of other serious relationships. We also learn about his childhood, when he had an abusive father and was close to his older brother, who later died in Vietnam. Hunter speaks of being "lost as a kid". Beyond the Hollywood years, it's fascinating to hear Hunter speak of his time on the Dinner Theatre circuit, where he put up with the travel and drudgery so that he could pay the bills and care for his sick mother. We also learn that in addition to his staggering good looks, his on screen appeal, and his musical talent, Hunter was also a world class figure skater and competitive equestrian horse jumper. Yep, Tab Hunter is pretty much the guy we would all despise … if he just wasn't so darned nice and likable!

This new film held the audience spellbound at the 2015 Cleveland International Film Festival. It was especially effective having the actual subject serve as narrator. Hunter's narration was very honest, truthful and insightful. His voice was sonorous, statements rich in humor and warmth, and his attitude toward himself rather laid back. The photography and direction was of a high level with editing that kept the pacing alive and energized. Besides looking at the main subject, the film also revealed a candid slice of the film industry of the 50s-- qualities still with us in 2015 (the film's release year). Hunter had more of a varied career than one might normally think--he played a variety of parts (particularly some stark TV dramas) and kept a cool attitude throughout. The film also reveals the actor's relationship with his mother and his rich past time with horses. All in all, a very engaging biopic.