Tom and Patrick should represent freedom from the ’50s oppression waiting for them outside the door. Behind closed doors, the relationship should be light and easy. Still, as directed by Michael Grandage - the British stage vet who dared make Disney’s musical “Frozen” dreary and heartless - there is no euphoria or even happiness in their meetups. That sentence surely just sent rabid Styles fans racing to. Then we watch scene after scene of them naked together in bed. Confused Tom leaves in a hurry, and later comes crawling back in an emotional storm. The pair begin canoodling one night when Patrick drunkenly sketches Tom at his Brighton flat, “Titanic”-style. He’s so sure of himself that he slips Tom his business card after he reports a crime. Styles plays the titular policeman (a word uttered so, so many times) in 1952 England named Tom, who starts to realize he’s gay after he meets Patrick (David Dawson), a confident art-museum curator.
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