Closing Numbers (1993)
Overview
Keith, Anna and their son Peter are a close, loving family living in a smart suburban street of a provincial city. Anna is a typical middle-class housewife, filling her day with good works, until one day, when she finds a note that leads to a shattering discovery - her husband has been having an affair. Anna's intense shock at finding out Keith's secret is compounded when she arranges to meet his lover. When Steve arrives at the meeting place, Anna is forced to accept the fact that Keith has been leading a double life for the length of their marriage. Steve stresses the risk of AIDS and urges Anna to have an AIDS test. To show her what it can be like to live with the disease, he introduces her to Jim, who needs 24-hour care and has developed a realistic attitude towards his own death. When Keith leaves home suddenly, Anna is forced to tell her son about the threat of HIV, but Peter turns violently against her and runs away.
Cast
Tim Woodward
Keith
Jane Asher
Anna
Frank Mills
Frank
Hazel Douglas
Mary
Jamie Glover
Peter
Kris Marshall
Fredericks
Judy Flynn
Ellie
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“Anna” (Jane Asher) comments to her recently enlivened husband “Keith” (Tim Woodward) that she thinks it odd that their sex life has suddenly sprouted some new wings, after many years of contented marriage. Then she discovers something that makes her realise that she is not the exclusive beneficiary of his ardour, so sets up a meeting with her rival. Suffice to say she is shocked when that person arrives and turns out be more Arthur than Martha. Indeed, “Frank” (Frank Mills) is perfectly named as their conversation opens her eyes and exposes her to a betrayal that she struggles to reconcile. Oddly enough, it’s to his lover that she turns more and more and when she is introduced to his friend “Jim” (Nigel Charnock) who is ostracised from his parents and suffering from the final stages of AIDS, she begins to reappraise her views in a distinctly maternal fashion. It’s all a little simplistic, this film, but it does have a message to convey that was still relevant in 1993 when attitudes towards the “gay plague” may have softened since the 1980s, but scratch the surface and fear and bigotry were still close by. Asher and Mills do most of the heavy lifting, but for me it’s the effort from Charnock that hits the mark as a man facing his own mortality with a sense of the stoic as those close to him struggle to deal with who he was and is. It only scratches the surface on so many levels, but it does go some way to normalise a subject that was still very much taboo.
