Tag Archives: Andrew Moor

The Youssef Chahine Podcast with José Arroyo and Richard Layne, No. 11: Alexandria Why? / Iskandariyya …leh?, 1979

alexandria for real picture intro 2

 

A discussion of Chahine’s autobiographical film, the first of what would be called the Alexandria TrilogyAlexandria, Why?/ Iskandariyya….leh? (1979), An Egyptian Story/ Haddouta Misriyya, 1982), Alexandria, Again and Forever/ Iskandariyya, kaman wa kaman, 1989 — and would then expand to include a fourth film, Alexandria….New York, 2004.

I made a trailer for the film and the podcast that should give you a flavour of what it’s about if you haven’t already seen it:

Our special guest star is Dr. Andrew Moor from Manchester Metropolitan University who specialises in, amongst other things, LGBTQ cinema and whose enthusiasm for Chahine films at last year’s Ritrovato festival in Bologna is what introduced many of us to these great works.

dyer
with thanks to Adrian Garvey for the image from Richard Dyer’s lecture above

Richard Dyer would use Alexandria, Why? to illustrate a lecture on ‘A History of Gay Cinema in Ten Films’, and it could just as profitably be deployed in relation to Queer cinema. The podcast discusses the very interesting ways the film depicts all kinds of intersectionality in a bildungsroman about a young man who wants a career in the arts just as British Occupying Forces are forced to contend with the Germans arriving in El Alemein. We discuss the way the film mixes genres (the musical, the melodrama, the social problem film). It’s a rare director that elicits commentary in relation to a mix including Ken Loach, Shakespeare, Vincente Minnelli and Shakespeare. The film is also an important contribution to a discussion of colonialism from the perspective of the colonised.

Screenshot 2020-07-15 at 18.31.13

 

There´s a very interesting review of the film by Jesse Cataldo here:

Richard Layne was thrilled to discover 70s British heart-throb Gerry Sundquist as one of the stars of the film and quickly dug up one of his works, as you can see above. Richard also provided more information for those who want to follow up on that aspect here below:

Review of “Soldier and Me” (his first lead role) which features the best summary I’ve seen of his career and what went wrong
This is by his co-star in “Soldier and Me”. I had the book with Gerry on the cover when I was a kid 🙂
Clip from “Soldier and Me” – Gerry is the guy who rescues the kid from the bullies
The film he made after “Alexandria .. Why?” – British “Saturday Night Fever” rip-off “The Music Machine”

Clip from “The Bill” from 1992, first acting work in 8 years following his drug problems, he died the following year. Gerry is the dodgy guy with the ponytail

https://www.youtube.com/watch?v=lGtoimaJFy0

Very sad story!’

 

 

Here are some clips referenced in the podcast that you might find interesting:

 

a tiny excerpt that is from a film that Chahine himself made as a student:

 

The very moving search fro the British Soldier:

with

 

….and the witty conclusion with the arrival in New York:

 

…and here is the glorious opening scene , which introduces all of the film’s main themes: Hitler promising to get to Alexandria cut to Esther Williams in Bathing Beauty, unruly occupying forces and anti-colonial struggles, the reality of occupation next to the fantasy of Georges Guétary singing ‘I’ll Build a Stairway to Paradise’ in Minnelli’s An American in Paris, anachronistically deployed here as the film starts in 1942 and the film would not be released until 1951; a young lad and his mates living their youth in a beautiful port city under difficult circumstances, a city made up of diverse peoples, represented inclusively and dramatised with feeling and depth. It’s a beautiful film.

 

Here is a more extended version of the film Chahine made at school:

 

There is a very interesting article here, perhaps romanticising, on how Chahine was able to finish his stint in America as a student due to a government error:

 

The podcast barely scratches the surface but will, we hope, enhance viewers’  appreciation and interestingly links it with his oeuvre to this point.

José Arroyo

The Boys in the Band (William Friedkin, USA, 1970

boys in band

 

When I was growing up, everything I heard or read about The Boys in the Band was terrible. Recently, after the Broadway revival, it was meant to be ´period´and wonderful. I´d never seen the film until now and found it a difficult and unpleasant watch, with some of the worst-directed acting I can remember seeing. If I´d been invited to this party, I´d have told the host to f**ck off, left within five minutes, and there would have been no play. The most interesting aspect for me was the décor (Fire Island greetings, Marlene in Concert posters), pausing the film to eye up the bookshelves (Berlin Stories, etc), the line dancing scene in the rooftop, and the wonderful pop music of the period that the characters put on (Tammy and Marvin, lots of Burt Bacharach).

Talking about it with friends (worth naming since so many of their views are drawn on and collectively summarised below: Andy Medhurst, Matthew Hays, Andrew Griffin, Matthew Motyka, David Greven,  Lawrence Napper, Bryan Johnson, Andrew Moor), there were lots. of mixed feelings. Most loved the first half, where we´re introduced to each of the characters and New York seems alive with cruising, and sex and secret  and hidden knowledges. They can cite by heart reams of dialogue which remain acidly witty. The camp elements of the period are still recognisable as such and still work, though I wonder if younger people will catch the extent to which all of these characters are talking through a particularly intimate and shared knowledge of the careers of Judy Garland, Joan Crawford, Marlene and Maria Montez. For other generations shared reference points would be Liza and Diana Ross, or Madonna, or Britney or Rihanna and Beyoncé. The film evokes that, brings it to life, vividly. It´s like a secret code made from knowledge of the stars.

Friends have made various comparisons. David Greven for example talks about how the film is like Rope in that it´s about the agony of and violent reaction against the closet. And one can certainly see that. Other friends such as Matthew Hays have made comparisons to Albee and Waiting for Godot and Abigail´s Party. And again those comparisons are understandable but to my mind only superficially so. I think even existential theatre has some utopian dimension that drives it, there´s no emphasis on the fun of company, even of the repartee (most of it is meant to hurt), of the joys of sex, or the pleasures in overcoming oppression or even of the pleasures in being marginal. It´s relentlessly grim, and thus I find it untrue.

I´ve seen a marvellous production of Virginia Woolf with Imelda Staunton recently and it was alive with pain and hopes and a kind of deep love within the hurt that is nowhere evident in this. I´ve also been seeing a lot of Pinter, and this certainly doesn´t have all the significant ’empty spaces’ within the dialogue that he does. So he might have been inspired by Pinter but it doesn´t feel Pinteresque.

The interesting thing to me  is that queer cultures continue to connect on the tangents of this work but perhaps only because that´s all the work gives you, the odd line, the camp, an imagined sense of a history of how things used to be etc. But they are tangents. All the characters are to me one dimensional stereotypes…and yet they echo something we recognise, which is what makes it interesting, but the moments where it echoes are not necessarily the best bits.

My suspicion is that the play IS better than the film. I´ve never seen the play but…even the SCREENPLAY feels better than the film. I hated almost all of the performances and I think it is the director rather than the actors that are to blame. That Emory, the queeny camp one, is meant to be an interior decorator beggars belief. We´re TOLD that but nothing in the way he dresses, acts or behaves would connote that.  I  can´t imagine him talking to an ageing wealthy  matron  about colours in  a way that would lead to his hiring. So Friedkin´s  direction is in some ways  wonderful (in  the way it moves, its use of space, the highlighting of moments) but terrible in that it shows so little understanding of the psychology of the characters represented.

 

I think there´s something interesting about this and Killing of Sister George, generally badly reviewed upon first release, flops, films that gays and lesbians felt they had to see because of a dearth of representation but that annoyed or appalled those same people that flocked to them (at least from the accounts we have) and that are now being re-appropriated in a somewhat ironic way by new audiences.

 

An afterthought but perhaps interesting. I thought the screenplay´s treatment of ‘Cowboy’ the hustler was appalling in that it took for granted or supported all the insults the rest of the group threw at him, normalised them in classist terms, and I actually thought the film was better than the screenplay in this instance, the camera lingered on him, made him tender and beautiful in a way not allowed by the dialogue, and gave him a symbolic curtain.

 

It´s a cruel and dishonest film, one that I think would have made me even more scared than I already was had I seen it as a teenager. It´s still a type of attitude from a type of world I like to stay away from, though that in itself might account for my response in contrast to that of others. And yet, by virtue of being ‘first’ or at least early, it´s become a kind of landmark. That is not necessarily a good thing.

I´ve been told that Matt Bell´s book on the film is wonderful and I might yet read it, though at this moment I have no plans of ever re-watching what  to my mind is an unpleasant and untruthful film, albeit one with a great deal of gay input (the actors, Crowley obviously, the agonised closet queen that was Dominick Dunne etc.)

boys-band-104031

I posted a version of the above on facebook and it lead to a great discussion which in turn informed the post. I hope to hear from at least some of you and continue the process.

José Arroyo