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That present-day Russia has scarcely moved on from this milieu lends additional political currency to a 1970s-set period piece that can hardly fail to move its audience on relatively old-fashioned terms: In his first narrative feature, Rebane speaks the language of classical melodrama when he’s not indulging in very softcore fantasy. Based on the late Russian actor Sergey Fetisov’s memoirs, drawn from his time as a Cold War conscript, this British-Estonian co-production shoots for “Brokeback Mountain” levels of honest heartbreak in its depiction of a long-term romance between two male soulmates thwarted by the laws and mores of their era. Subtlety is in short supply in “Firebird,” a swooning gay romance that firmly supplants “Top Gun” as the queerest film ever set in the air force it may even top Tony Scott’s closeted kitschfest for most phallic military imagery per frame.īut if such isolated moments of hot-and-bothered vulgarity suggest a winking exercise in heightened horniness, “Firebird’s” story of forbidden love in an oppressive authoritarian regime is otherwise played, for want of a better word, very straight indeed. Behind craggy rocks and away from prying eyes, they kiss, before one gives the other a charged underwater handjob as they jointly climax, director Peeter Rebane cuts to an image of two fighter jets blazing overhead, the lovers’ clenched moans drowned in a roaring sonic boom. At a crucial point in “ Firebird,” two perfectly chiseled servicemen steal away from the Soviet Air Force base where they’re stationed for a skinny dip in the Baltic Sea.