Oh, there is one-Sobran first breaks his angelic appointment while serving Napoleon in Russia, before returning home to tend the vineyards. Plot is not exactly a major concern of The Vintner’s Luck.
Over Sobran’s lifetime, including the broken appointments, Xas becomes a confessor, a counselor, a friend, and a lover. The angel Xas takes a liking to him and they agree to meet once a year over Sobran’s lifetime in that very spot. While wandering drunkenly around the countryside, having tried to drink his love troubles away, Sobran is caught by, of all things, an angel. The Vintner’s Luck concerns Sobran Jodeau, a vintner (a winemaker, for those of us whose eyes cannot handle those “n”s being close together-I don’t care if I’m French-American, it still looks wrong!) in nineteenth century France. Velvet Goldmine and The Vintner’s Luck have nothing else in common besides “dudes kiss in them” (oh, and shirtlessness, I guess?), but the quality of the atmosphere is quite similar-heady, languid, rarefied. The same is true of, for some reason, most queer-minded media made in the late nineties and early aughts that I’ve consumed. (This is why I nearly crawled out of my seat and over the very sweet Spider-Man fan when young!Tony appeared in Captain America: Civil War.
Never mind the fact that it can be carbon-dated by the fullness of Robert Downey Jr.’s lips. It might be set in the 1600s, but a single frame can tell you that it was released in 1995. Like in Restoration-there’s something about the production design. You know how you can spot a period film made in the nineties? Well, I’m going to be no help, because I can’t quite put my finger on it, but I know it when I see it.
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