An ambitious, large-scale Netflix production, The Old Guard throws special ops, behind-enemy-lines-style action together with intriguing superhero-style mythology. Charlize Theron leads a team of immortal warriors, ranging from hundreds to thousands of years old, who find themselves on the run from corporate and military-industrial pursuers.
José is captured by the film from the beginning, his love for Theron’s action stardom and the film’s mysterious setup pulling him in; Mike takes an age to warm up to it, his inherent suspicion of all things Netflix keeping him wary. But when the story develops its romantic side, he softens, and both agree on what the film does best: the defiant declaration of love from one man to another, surrounded by armour-plated, heavily armed police. The Old Guard approaches representation of different sexualities and ethnicities in heartfelt, open ways, and the prospect of sequels that develop that further – perhaps even a universe – is promising.
Ultimately, José loves The Old Guard much, much more than Mike, but it wins us both over.
I was watching The Old Guard on Netflix last night — junky but enjoyable and surprisingly ethical — thinking things like: ‘Charleze Theron’s career has become what Demi Moore dreamt for herself but failed to get in the 1990”s; ‘Isn’t Mathias Schonaert’s good? Why isn’t he getting top roles any more?; ‘amazing that the old guard is handing power over to a young black woman (an excellent Kiki Layne)’;’ the make-up of the group is such a seamlessly dramatised ethnic mix, unlike The Avengers’ …and so on when I was floored by the scene below:
I don’t find it particularly well acted, and the dialogue rings a little bit false. It’s not a patch on the Frobisher sequence in Cloud Atlas …and yet…. it moved me so. To have those sentiments expressed in a public setting, showcased in the very structure of the film the way the film does, expressed with sincerity, even if the editing gives it a witty but slightly deflationary ending…..sigh.
Moreover, as Andrew Grimes Griffin observes, ‘One of the more interesting things about it is that the declaration is made while they are surrounded by homophobic, armed men. They are supposedly prisoners and supposedly in a vulnerable position, and yet there is not only the speech, but the kiss.’ It’s almost like it makes you cry for yourself. What it wold have meant to see this forty years ago. It felt an illustration of the visual equivalent of Noel Coward’s old joke about the potency of cheap music.
This is not all there is to the show and it goes beyond Joe and Nicky’s story: ‘there has also been a lot of speculation around a second queer relationship woven into the story’s narrative.
Andy (Charlize Theron) and Quynh (Veronica Ngo) have very little screen time together and yet all signs pointed to something more profound than friendship. “Just you and me,” Quynh whispers while chained to the wall, ushering a reply of “until the end” from Andy.’
Theron and Ngo’s brilliant performances definitely hint at a romantic relationship, and though it is never explicitly confirmed, queer Twitter seems to be unified in the belief that they are immortal lovers.
“Andy and Quynh are a power couple and no one can tell me otherwise,” writes one user, while another candidly captions a video clip of the pair, saying: “The Old Guard says give the gays immortality.”
So much to appreciate and so much to look forward to.
A delicate, intelligent love story, Céline Sciamma’s Portrait of a Lady on Fire undulates with complex, interlocking themes and emotions. It’s a film about looking: who looks, who is looked at, how one should be seen, for whom the gaze is intended and what the rules are. Héloïse, a young aristocrat, refuses to have her portrait painted for the approval of a Milanese nobleman; an artist named Marianne is commissioned to do just that, but in secret, forcing her to steal glances at her subject and, outwardly, act merely as her companion. The women’s relationship quickly develops, and soon they are collaborating on the portrait to which Héloïse had hitherto objected.
Sciamma demonstrates an eye for beautiful, sensitive composition, and with cinematographer Claire Mathon creates some simply stunning imagery, evoking 18th and 19th century Romantic art; truly, this film understands what it means to paint with light. We consider the differences between the characters: one formerly resident in a convent, brought home to take over her sister’s role to be betrothed; the other a skilled worker, whose life experience Héloïse is keen to probe – and this is to say nothing of Sophie, the maid, who forms friendships with both Héloïse and Marianne, and the drama of whose life experience surely outweighs theirs combined. We discuss how the boundaries between the three – particularly Héloïse and the two workers – are broken down; without the rule-keeping figure of Héloïse’s mother present, the young women are able, to an extent, to reshape the world in which they live. But patriarchy overhangs the entire film, even with men physically absent throughout; the painting into which Marianne and Héloïse are investing their love is the very thing, intended for the Milanese suitor as it is, that will seal their fate to live separate lives.
Portrait of a Lady on Fire is an ambitious, confident, complex and beautiful film whose imagery soars on the cinema screen. See it.
We’re still with MUBI and grateful for the opportunity to see O Fantasma, directed by João Pedro Rodrigues: a film José had heard of and been encouraged to see by various friends, but hadn’t quite come his way until now. He thought the film was only a few years old and could now kick himself for having waited twenty years to see it. José thinks it a masterpiece, Mike doesn’t; though the film being clearly aimed at a gay male audience might help account for it, and it speaks to José deeply.
Following Sergio (Ricardo Meneses), a very handsome young garbageman in Lisbon, perpetually horny and on the hunt for sex, O Fantasma is feverish sex dream of a film, a reverie, that evokes the feeling of horniness, of being up for sex but having no one with whom to find release with. What starts as a hunt that eventually turns the hunter into the hunted. We discuss how the character of Sergio seems to have no filter and no fear. He lives in a homophobic culture fraught with danger but is free. The sexual situations seem to take on the form of a dare and, even in the most potentially dangerous encounters, Sergio’s glance seems to say “I’m not afraid of you and it could get sexual if you want it to”. We discuss how the film’s story is structured differently to a conventional narrative: there is a conveyance of a certain kind of sexual dreamscape. The various episodes might not cohere in terms of plot but do come together in the film’s conveyance of atmosphere and feeling.
We note how for an earlier generation this would have been an X-rated film due not only to its subject matter but to its explicitness. We also remark upon the film’s real queer gaze that is also a gay male gaze; something worth distinguishing. We compare the film to the New French Extremity films of the era but also note that where they possessed had a harsh kind of crudeness, O Fantasma is very stylised. José finds the film unusual and beautiful, with extraordinary images that are really potent and poetic.
Sergio feels his desires in a culture in which he’s allowed none of them. Yet this is a film that celebrates a full spectrum of desires, the freedom to desire and to act on one’s desires. O Fantasma is a film that will confirm every homophobe’s worst views of gay men – and that partly its strength. It’s a film that is made in and asserts freedom. Sergio’s gaze is radiant, subversive, and defiant.
If you’re a gay man interested in film, this is unmissable.
The podcast can be listened to in the players above or on iTunes.
Todos somos marineros (in English, We’re All Sailors) was partly inspired by a workshop in which a group of students spent eight hours discussing the opening line of The Merchant of Venice, and a news story about three Russian sailors left stranded in a Peruvian port due to the sudden bankruptcy of the company they worked for. Writer-director Miguel Ángel Moulet developed a story about just that predicament, a story in which two of the sailors are brothers attempting to find their place in the world, stranded in the coastal city of Chimbote, able neither to go home nor to establish a stable life in Peru, living in limbo, tentatively making connections with the locals.
Moulet is a graduate of EICTV, the Cuban film school, where José visits and spends a few days teaching every year, and this is how we come to bring this podcast to you, José having been screened Moulet’s debut feature recently and keen to share it with us. We’re far from the first to see it, the film being on the festival circuit and already having picked up a number of nominations and awards, including the prestigious FIPRESCI Prize at the Toulouse Latin America Film Festival. A screener was made available for us to watch, and we’re so grateful that it was, as it’s a beautiful, sensitive film.
That line from The Merchant of Venice reads: “In sooth, I know not why I am so sad”, and that simple thought informs the tone and themes of Moulet’s entire film. Todos somos marineros is a story about isolation, displacement, loneliness, and a kind of all-encompassing, ethereal sadness. The central four characters pair up throughout the film – the two brothers, Tolya, the elder, who feels a degree of paternal responsibility towards his younger brother Vitya; the cafe owner and her delivery boy, Sonia and Tito, who function as a kind of surrogate mother and son; Tolya and Sonia, who are in a loving relationship, and Vitya and Tito, who grow close and whose relationship leads to the film’s climax and quiet cliffhanger ending. These pairings are developed and expressed subtly, intelligently, and with heart.
The film makes significant use of long takes, both moving and still, and doesn’t exactly discriminate between when they should and shouldn’t be used. At their best, these shots allow the performances space to breathe, contribute to a delicate, slow pace, or help to convey a rich sense of the characters’ environment; at their worst, they distract from or even obscure what the film is showing us. There’s also use of a trope in which the film opens on a flashforward we’ll return to later, one that effectively establishes a strong mood and mystery but which Mike argues is not purposefully used, and which detracts from the film’s later scenes. (At least, that’s his argument for why he didn’t grasp what was going on in the film’s final third.) On the other hand, there is simply gorgeous cinematography by Camilo Soratti, his camera capturing dense, diffuse natural light infusing the air over Chimbote with extraordinarily beautiful colour and texture. And, overall, Moulet’s direction exhibits a strong control of tone, the film surging with the sense of sadness and loneliness so crucial to it.
There’s more besides all of this to discuss, and we take our time to do so. Todos somos marinerosis an imaginative, rich debut feature that is deservedly earning praise and winning prizes. There’s no predicting if and when it will come to a cinema near you, but if you do get the opportunity to see it, we urge you to jump at it.
José spoke to Miguel Ángel Moulet recently, and their conversation (in Spanish) can be heard here.
The podcast can be listened to in the players above or on iTunes.
We return to Barry Jenkins’ If Beale Street Could Talk, his sumptuous romantic drama set in 1970s New York, for a deep dive, and take the opportunity to revisit his previous film, 2016’s Best Picture winner Moonlight. It’s an enriching conversation and we’re glad we took the time to engage in it. (The first podcast can be found here.)
We begin with Moonlight, working through our responses to what we experienced differently since having seen it previously (Mike last saw it during its cinema release, while José has seen it a few times on more recent occasions). The film’s final third is given serious thought, José in particular enjoying the opportunity to properly work through his longstanding problems with it, which amount to the film’s fear of the sex in homosexuality, its conscious refusal to openly and honestly depict two gay men being intimate – the film denies them even a kiss at the very end – and the critical establishment’s bad faith in refusing to engage with this particular point. It’s great to have finally discussed this topic, particularly paying close attention to the final few shots, where the problems are condensed and made perfectly clear; as José says, it’s an itch he’s wanted to scratch for a long time.
Moving on to Beale Street, we re-engage with some points we brought up in our first podcast, such as the dissonance between the opening intertitle’s invocation of drums and the soundtrack’s absence of them, and the relative richness of the characters that surround Tish and Fonny to the central couple. And we draw out new observations and thoughts, in particular returning on a few occasions to the conversation between Fonny and Daniel, discussing the lighting that drops them into deep shadow, picking up just the lightest outlines of their features as if to expose their souls instead, and how shot selection, editing and the use of a rack focus develop the drama and bring the characters together but simultaneously isolate Daniel within his own traumatic experiences. Mike picks up on a motif of redness in their eyes, acknowledging that the reading he offers is always going to be a stretch but finding it meaningful nonetheless.
We discuss the use of photo montages to reach for the universality of experience that the title implies and we felt was an issue the first time around, José describing how they thematically focus the film on black male incarceration and the lived experience of black masculinity in the United States. Mike feels that it’s a bit of a hangout movie, wanting to spend time with the characters and in their world, despite – perhaps because of? – the hardships they experience and discuss at times; certainly because of the romantic transparency, the care and love that characters show for each other, and the richness of their conversations. José finds fault with how the Latinx characters are lit and generally visually portrayed to less than their best, arguing that they were excluded from the visual romance that bathes the rest of the film.
And we see direct comparisons between Beale Street and Moonlight. Beale Street‘s sex scene is an obvious point of discussion with respect to Moonlight‘s ending, but we also find parallels in the elements that depict or imply betrayal between friends, Moonlight‘s hazing scene and Daniel’s ostensible usefulness as an exculpatory witness for Fonny sharing complexities around whether the betrayals they depict are truly betrayals.
A hugely enriching discussion that we had great fun having, thanks to two intricate, beautiful, thought-provoking films.
The podcast can be listened to in the players above or on iTunes.
Gender-bending in turn-of-the-century France, with the true story of Colette, probably the most famous female writer in French history and author, although they were published under her husband’s name, of the Claudine stories. With representational interests that give voice and presence to people and lifestyles one might not expect in a period film, and two very good central performances, one sensitive and complex, from Keira Knightley, and the other fabulously charming, Dominic West’s, there are things we like. But our overall response is disappointed, the positives dulled by a poor script, some badly developed characters, and direction that allows no metaphor to pass unvocalised.
Mike considers it a potentially smart film destroyed by a pointless fear of its audience not getting it; José sees it as the middle-of-the-road cinema it is, for better and worse. It’s worth a look in some respects, but we can’t claim it’s a good film.
The podcast can be listened to in the players above or on iTunes.
Rachels Weisz and McAdams soar in this delicate, passionate, complex drama of social pressures and forbidden love. Set in the North London Jewish community, Disobedience tells the story of two women whose love for each other is reignited when one returns home following her father’s death.
Everything is rendered complex, nothing is simple. Weisz’s anger at having been cast out of the community, McAdams’ subjugation and repression into a way of life she doesn’t desire, and Nivola’s denial and ambition are all expressed deeply and combine in intelligent and subtle ways. José is spellbound by the depth of feeling from the very beginning; Mike feels the lack of context early on is disappointing, seeing the film’s clichés rather than its originalities. And we share a certain reservation as to the film’s visual qualities, Mike suggesting the Jewishness of the story is reflected in its understatement, but again there is complexity present in its aesthetic and we appreciate its coherence.
We also like the seriousness with which the film treats its setting, the lack of condescension with which it depicts Jewish ceremonies and customs, Mike in particular finding it exciting to see authentically represented all manner of occasions and nuances of English Judaism. And the synagogue’s choir sings beautifully.
Though we don’t agree on everything, we are deeply moved and find it an enriching film. It’s very much worth your time.
The podcast can be listened to in the players above or on iTunes.
The road to banal and disappointingly homophobic biopics of rock legends is, as they say, paved with good intentions. The Queen story/Freddie Mercury biopic has been in the works since 2010, with creative differences amongst the filmmakers made public and Brian May and Roger Taylor apparently exercising tight control over how the story would be told. What they apparently wanted was sanitised, bowdlerised, pasteurised, inoffensive to the delicate sensibilities of an audience that would rather not look too closely at the sexuality of a gay icon. Which sounds absurd, but considering the old man sat near us in the cinema who audibly said, “oh dear”, when Freddie was shown kissing a man… Jesus, they might have had a point.
José expresses his disappointment at seeing yet another gay story in which being gay leads to isolation and unhappiness: ‘the sad young man’ trope evolving into the ‘dead queer’ one. Freddie is lonely, surrounded by cats in a vast empty house, pining for a woman. His gay relationships are chaste and the one openly gay character, comfortable with who he is, is cast as a snake, a villain. Freddie’s sexual drive bursts out of his music; are we supposed to believe he experienced no joy in being gay? Brian May – the character – is depicted as a particularly annoying pest, clean, perfect, and forever commenting on Freddie’s lifestyle and behaviour as if to vet it; or perhaps as if to ensure the audience is comfortable. The more we think about it the more homophobic it is.
Our discussion of the film’s attitude to and portrayal of Freddie’s sexuality is central, but two other key aspects to his life also come under criticism – his music, and his death from AIDS. The latter is skated over almost entirely, sympathetically included right at the end to help you feel good about feeling bad for him. The music can’t be hurt, of course, and it’s a pleasure to hear banger after banger, but as Mike says, you may as well go home, read the Queen Wikipedia page and put on the Greatest Hits. What drives the band, what drives Freddie, aren’t things the film appears to have even considered might be interesting questions. Things just… happen. In chronological order. Mainly.
Ultimately we ask ourselves who this film is for. We watch it at a distance, wondering why it is the way it is, not really involved in it until that final act in which Live Aid provides Freddie with the opportunity to make the entire world his own for twenty glorious minutes. And once we get there, everything else becomes insignificant for a while, because it all comes together, the music, the character, and the best parts of Rami Malek’s performance – his physicality and stage presence – and we get to watch Queen for a while. (Or at least a very good tribute act.)
The podcast can be listened to in the players above or on iTunes.
Watching The Inheritance was an unforgettable experience. It is epic theatre — it runs in two parts from 1:15 to about 4.30 and then from 7:15 to 10.45 — but not in the Brechtian sense. There’s no distanciation here: The Inheritance is theatre as a form of social communion. The theatre seemed to hush at the right moment, without cues, as if guided purely by anticipation. It’s a state-of-the-queer-nation play which touches on the last thirty years of queer histories, the inheritance one generation bequeathed to those that followed, dramatised through a varied cast of characters. I was so moved by the whole experience that, for the first time ever, I actually bought the play at the intermission to re-read later, just in case I’d missed anything.
The mise-en-scène seems on the surface of the utmost simplicity. One empty platform with levers, beautifully designed by BobCrowley so it can be lifted and dropped, first used as a floor, then as a table on which all of the characters, who often step on the performance space through the audience, act out. But the entrances, exits, line readings, even arm movements — all of which earn some effect — belie that first impression of a ‘simple’ mise-en-scène. It’s minimalist in terms of look and what’s visible — though behind it is a hidden screen which sometimes parts to reveal houses and trees occasionally and to great effect; as symbols, cues and setting — but very complex and worked-on in terms of conceptualisation and direction (by Stephen Daldry).
E.M.Foster appears as a narrator who critiques, offers motivation and changes the action. In the writer’s note in the programme of the production, Michael Lopez writes, ‘Foster himself is in it, for the story of my life cannot be told without him’. The play uses the structure of Howards End. Lopez acknowledges how he first saw The Inheritance as a straightforward adaptation, ‘an almost tit-for-tat contemporary updating with gay men from different generations as its central characters. I knew my story needed to be in part about AIDS, for the story of gay men cannot be told without it. Yet almost as soon as I began to write it, I discovered that I was creating something new.’
‘If Howards End, for me, was a gay man in 1910 reaching a hand across time to a young gay boy in 1993 assuring him that he was seen and that he was not alone, The Inheritance is that young boy now grown up, reaching back and saying thank you. It is my act of gratitude to Foster for rescuing me when I was most in need of it.’ This inter-generational conversation about identity, love, desire, loss and death is what The Inheritance is about.
In The Inheritance, the opening line of Howards End, ‘we may as well begin with Helen’s letter to her sister’ becomes ‘we may as well begin with Toby’s voicemails’. Here the two Schlegel sisters are conceived of as a gay couple, Eric Glass (Kyle Soller) and Toby Darling (Andrew Burnap), together for seven years, and agreeing to marry shortly after the play begins. The unfolding of their relationship is the spine of both parts of the play. The character of Leonard Blast is split to encompass both a performer (Adam) and a hustler (Leo), both wanting to acquire culture, and both played by Samuel H. Levine: and there’s a moment where Levine moves in and out of each character within one moment that is a theatrical tour de force.
In fact there’s a lot of ‘doubling’ in the play. Paul Hilton who plays E.M Foster (Morgan), and who as Morgan is an active narrator who gets quite a lot of say in shaping the action, also plays Walter, the kind and gentle man who’s been with Henry Wilcox(John Benjamin Hickey) for 36 years and whose relationship with him is damaged over fundamental issues of ethics and morality when he takes in an old friend in the last stages of dying from AIDS: Henry not only disapproves but actively forbids. Walter befriends Eric, who will later also end up marrying Henry after Walter’s death, and who will also have fundamental differences of opinion when he too decides to open up their house, his house, to the ill and marginalised. Eric in some ways is a new generation’s Walter, acting ethically with the same kinds of compassion and in the face of very familiar forms of discrimination. So the doubling happens by actors playing more than one role, by characters exhibiting similar character traits but from different generations, and through thematic rhymes across both parts of the play.
For example, when we’re introduced to Toby Darling, we assume he’s a flighty, superficial middle-class mannered queen. But we then find out he’s a working class boy from the boondocks. The character he writes for a play, Elan, and which he passes off as autobiographical, is in fact who he wants to be: ‘Rich kid, seventeen, raised on the Upper West Side, sexy as fuck, sarcastic, rude, yet undeniably compelling. He’s basically me.’ is what Toby says. But in fact the person who is like that is Adam, who will get to play Elan. Toby inscribes his book to Adam as ‘To Adam, whom I hope to be when I grow up’. Yet Toby is more like the lost Leo, out of the house by 17, and exchanging the use of his body for substances and subsistence.
Toby will desire Adam and ruin Leo. The only reason Toby didn’t end up like Leo is because Eric saved him. Eric will also save Leo later, like Walter saved so many people earlier; and Eric and Walter will both love Henry, though the older one stayed with him in spite of his faults, and the younger one has different expectations and is able to make different choices. All this doubling takes place amidst a narration that starts off with anonymous people like ‘Young Men 8’ but then goes on to take concrete form, e.g. Young Man Number 8 becomes Toby Darling. The general, generational, social, illustrated by the concrete: individual characters and experiences. Structurally, it’s a marvel.
There’s a terrific theatrical moment, the very end of Act I, where Eric tells Walter, ‘I can’t imagine what those years were like. I don’t eve know how to…
I can understand what it was like. But I cannot possibly feel what it was’.
I’ve reproduced Walter’s response from the published play so you can imagine how powerfully it works on stage (see below)
When Vanessa Redgrave, the dreamy first Mrs. Wilcox of the Merchant-Ivory film, appears near the end of the play as Margaret Avery, the elderly caretaker of the house, here formerly a hospice for the terminally ill, and stabs her womb with her hand remembering how careless she’s been with the son who she didn’t know had so little time to live — well, you could *hear* the audience sniffling and sobbing.
Redgrave plays the house’s caretaker here with a dreadful southern accent. She seemed at times amateurish but then also simultaneously poetic and heartbreaking. Her rendering of the extraordinarily long soliloquy about her son; her love for him and guilt; and what led her to to help Walter turn his house into a hospice is beautiful, moving: quite something to see. And her presence, the aura of her history of politics and performances, adds something to this experience aside from her playing. A day of theatre where even the unsatisfactory bits seemed to add rather than subtract from the experience.
The first part curtain, with the dead from thirty years ago rising from their graves to talk to the new one, had me in tears. And at the end of the second part — when in a flashback Henry asks Walter for guidance: ‘What do I do now Walter? Tell Me what to do?; ‘You do what they could not’, says Walter, ‘you live’ — the audience did literally leap to its feet: cheers, whistles, tremendous outpouring of emotion. The play’s a bit didactic, with attempts to educate that seem clunky and inorganic. In fact there are many issues: it’s a bit preachy, and creaky, and repetitive. It could all be shorter. But I was fascinated by how to me at least it didn’t matter. Even what on the surface seems wrong with it worked for it, and certainly on the audience
Much of the plot of The Inheritance revolves around gifts those who are bequeathed them are thwarted from recognising or accepting. Walter leaves the house to Eric, but like in Howards End, Henry and his sons decide not to honour that pledge. In the end Henry says ‘no man should have to ask for what is rightfully his’ before turning the house over to him. And we can see this plot point as a metaphorical discourse on gay history in the culture at large. The film not only uses Forster as a starting point but references Edward Carpenter, Baldwin, Hollinghurst, even Call Me By Your Name. Though there comes a point half-way through the play when Morgan tells the current generation: ‘You are essential to the story I like to believe I was helpful to you as you started it. But I cannot help you finish it. It isn’t my right to. The past must be faced. It must be learned from. But it cannot be revised. I had my time. Now it’s yours’.
The history of the plague years, the place of so much death and dancing, the birthplace of all the gay activism that directly shaped all the recent gains, from film festivals to gay marriage to the existence of this play, is the rightful inheritance of a younger generation of gay men. But it too has been thwarted, partly through the death of so many men so many years ago now, partly through social exclusion, partly by the fact that so many who get to write history died before they could. The HIV virus itself is also a form of inheritance, in this case an unwanted one, but certainly one passed from generation to generation.This larger social argument is paralleled by individuals like Eric not recognising their own gifts; those which they’ve inherited but in turn also developed, and which need the support of others to come to the fore and be recognised even by the subjects themselves.
This play, and films like 120 Beats Per Minute, are one generation’s attempts to reclaim what is rightfully theirs: the legacy of a history. A ghost of one generation is disinterred to illuminate the gains and grievances, losses and achievements, the culture of another: so that a new generation could rightfully claim the inheritance that is theirs. It might have problems as a text. But it’s an extraordinary experience in the theatre. Kudos to writer, director, actors and all the others for making it so.
A touching documentary about a gay man, Saar Maoz, born and raised in a religious kibbutz in Israel who’s kicked out of it for ‘not following the rules’, ie. being gay. He moves to London in his early twenties, meets a man he loves and starts a long term relationship. It doesn’t last. Amidst the sorrow and sexual experimentation that follows the break-up, he becomes HIV. He finds support from the London Gay Men’s Choir and then, at 40, finds himself in complicated discussions with the very extensive members of his family about whether to return to live in Israel. What makes it so moving is that the family is very loving yet almost murderously homophobic: ‘Why don’t you just kill yourself?’, asks one of his brothers. This is the type of film where the wish for a sibling’s death encased in an avowal of love is rendered understandable.
Saar Maoz is a great subject: charismatic, exuding energy and intelligence, emotionally transparent yet very vulnerable; moving fluidly between a learned ironic stance and a need for love so naked it feels an ache. What at first seems a contradiction becomes reduced to a tension as the film progresses. It’s encapsulated also by the London Gay Men’s choir, at once camp in their movement, kitschy in their song selection, yet simultaneously pure and true in their singing. The film places Maoz between family, where he is loved but is outcast (the scenes with his father are great), and community where he is a cherished but minor part of a very large group. In between them, Maoz suffers and longs.
Ultimately, London, with it’s cosmopolitan and multi-ethnic culture and make-shift support group of choir, medical lifeline, exes and friends, is nonetheless seen as a place of exile: where Maoz has gone to spare his family angst and shame, at great cost to himself. In the end, he decides to return to Israel, and to his family, in a job — running an HIV/AIDS organisation — that requires him to be out about both his sexuality and his HIV status. It’s a choice that raises lots of interesting questions: what is community? what is family? what does Maoz find in blood-ties that he couldn’t invent or construct for himself in London?
Who’s Gonna Love Me Now is not a formally daring or innovative documentary. But it will resonate and be of interest to anyone familiar with cross-cultural conflicts within families.
This thought was incurred by the Before Stonewall programme of films at Lincoln Centre and by Guy Madden’s excellent programme of films at Harvard, as well as the suspicion that retrospectives of ‘gay’ films almost always dwell on instances of representation rather than ‘sensibility’ or ‘structures of feeling’ or other elements that are harder to classify but just as clearly communicated, and historically perhaps even more important, as they were a subcultural form of communication but clearly understood through mainstream media, something akin to the minstrelry Henry Louis Gates Jr. describes in Blues, Ideology, and African American Literature, A Vernacular Theory, when he describes blacks donning black-face in minstrel shows and performing to a mixed audience in a way so inflected that the black audience were aware but the white audience possibly not.
I saw Foul Play when I was 14 and it’s the first film I saw which I knew was somehow gay without it having any gay characters to speak of. Today there are many things one can point to: the film’s empathy with outsiders and misfits of all kinds (though some might find the scene above on the verge of being offensive; the film makes amends later); the feminist overtones which then over-hung the incipient gay liberation movement — a girlfriend gives Goldie Hawn’s Gloria a whole array of tool with which to defend herself against male aggression; the San Francisco setting; the way the Dudley Moore character travels through the saunas and discos in search of a quick shag in ways much more characteristic of gay men of the period than heterosexual ones; the type of cinephilia, with its adoring send-ups of thriller/horror tropes; the opera sub-plot and it’s comic use of Gilbert and Sullivan’s The Mikado; the plot to kill the pope; the camp humour with which it’s all told; the tracing of this sensibility to its director, one of the first to be openly gay, who had written Harold and Maude before and would later go on to direct such camp classics as 9 to Five and Best Little Whorehouse in Texas before dying of AIDS in 1988: one easily notes the patterns of the films and of the career. Back then, the only thing I could point to was how in the last shot, the extras looked like the pornstars that then adorned the covers of Blueboy or Mandate magazines, and were later to adorn the covers of Falcon videos. As you can see from the clip above — where Goldie Hawn plays a librarian who is being chased for a microfilm she doesn’t know she has by a killer nicknamed The Dwarf — it’s all very gay, in every sense of the word. And one knew it, even then, even at 14 but without quite knowing why.