December 16, 2011

Queer Review: Farewell My Concubine (1993)

Farewell My Concubine
Director: Kaige Chen
Writers: Bik-Wa Lei, Pik Wah Li, Wei Lu. Based upon the novel by Pik Wah Li.
Cast: Leslie Cheung, Fengyi Zhang, Li Gong, Qi Lü, Da Ying, You Ge, Di Tong, Dan Li, Han Lei, Chun Li, Mingwei Ma, Yang Fei, Zhi Yin, Hailong Zhao

Overview
A true epic, Farewell My Concubine tells the story of two opera stars and male lovers, whose rise and fall from fame is set against the backdrop more then 5 decades of Chinese history.

Synopsis
Abandoned by his prostitute mother in 1920 China, Douzi (Mingwei Ma, Zhi Yin, and Leslie Cheung) whose name means "bean" was raised by a theatre troupe. There he meets Shitou (Hailong Zhao, Yang Fei, and Fengyi Zhang) and over the following years the two develope a routine around the opera "Farewell My Concubine" that as adults, brings them fame and fortune. When Shitou marries Juxian (Li Gong), Doutzi becomes jealous, the beginnings of the acting duo's explosive breakup and tragic fall take root.

The Queering
Movies like this are rare but well worth the effort it takes to find them. At nearly three hours in length, Farewell My Concubine may test some viewers constitution but they will also find their patience rewarded. The characters, along with their changing relationships and circumstances, are what drive the plot of Kaige Chen's film forward. There is little in the way of action or comedy to spice things up but watching Farewell My Concubine will probably make most people realize how unnecessary those elements can be.

The acting across the board is fantastic, with the best performance being Leslie Cheung's Douzi. In the opera, Douzi plays the doomed concubine to Shitou's Hegemon-King Xiang Yu, which causes Douzi to develop confused feelings regarding his gender and his off-stage relationship with Shitou only makes this worse.

Watching Farewell My Concubine I could not help noticing that while distinctly Asian (the Farewell My Concubine play which Shitou and Douzi perform and mirrors the plot of the movie is a traditional part of Chinese theatre) there are also clear Western overtones and themes present throughout. The beginning in particular, with it's focus on the cruelty the children in the acting troupe are forced to endure, is very Dickensian. Other elements seem straight from Shakespeare, right down the nitty little detail of having males playing female characters. Not to mention Farewell My Concubine has the grandiose feel of many of Hollywood's greats, such as Citizen Kane or Gone With The Wind.

Unfortunately, I don't have time to analyse where certain themes and motiffs orginated or who might have been borrowing or stealing from whom. What is clear to me, is that while Farewell My Concubine is set in a particular place and within a specific culture, it still manages to touch upon common threads of human experience. One does not have to have lived through Chinese history in order to be able to understand or empathize with the characters, their experiences are intimately depicted, yet still universal. To me, that is precisely the sort of characteristic that makes a great movie.

Recommendation
Say farewell to anyone you know if they try and stop you from seeing this movie.

The Rating




Trailer


Want to find a review of a particular work? Check out the Title Index, the archive of all reviews posted listed alphabetically.

December 14, 2011

Otsego County Pflag: Positive Connections in Need of Help

Otsego County Pflag: Positive Connections in Need of Help: Hello everyone, I received the following from Bill Phar, the head of Positive Connections. I hope people can do whatever they can to help:...

Queer Issue: A Christmas Wish List on the Future of Queer Cinema

I do not want my house to be walled in on all sides and my windows to be stuffed. I want the cultures of all the lands to be blown about my house as freely as possible. But I refuse to be blown off my feet by any.
-Mahatma Gandhi

It's easy to rant and rave about what one does not want to see in films, but all the ranting and raving will do nothing in the end towards creating a robust and thriving Queer Cinema. That is not to say that I wish to discourage any anger directed towards the movie industry regarding the lack of diversity and inclusiveness on the silver screen. There are huge problems when there is a near total absence of queer youth, queer people of color, and feminine traits are used almost universally to denote evil. Although, I must add that on a micro level there is nothing wrong per se with an overly feminine antagonist. The problem is one that exists on the macro level, when nearly *every* movie ever made will take the time to point out the macho manliness of the hero while highlighting the lisping femininity of the limp wristed bad guy.

And so I decided that I wanted to create a Christmas Wish List to make clear what I want and what I believe the movie industry should be doing. I am not looking merely to vent, but to make a statement of what should be.

Dear Santa,

This is a wishlist of what I want for the future of Queer Cinema.

When it comes to queer cinema, I want more of everything. I do not want erasure, I want exposure and truth. I want cinema to depict honestly how queers have been integrated into the full history of human culture. I want to see the stories of how queer sexuality was accepted by some societies, ignored by others, and oppressed by far too many. In short, I want it all.

I want more stories with gays, lesbians, asexuals, bisexuals, pansexuals, and omnisexuals. Deliver to me characters who are transgender, transsexual, gender queer, intersex, and do not forget the flaming drag queens and kings. I want to see depictions of those genderfucks who ate the livers of society's gender paradigms with fava beans and washed them down with a nice Chianti.

I want the film industry to tell me the stories, as Clint Catalyst would say, in praise of the prancy boys, as well as the tales of butch dykes, of femme lesbians, and of the manliest of gay men. Show me the stories of leather daddies and leather mommies. I want the celluloid closet to be destroyed utterly and completely.

I want to know the stories of queers of every religion, of every culture, and of every race and color. Show me queers who are Atheist, Christian, Buddhist, Muslim, Jewish, Hindu, Deist, Animists, Taoists, or Agnostic. Tell me of queers who are African, Asian, Middle Eastern, Latino, Hispanic, European, or Native American. Give me the chronicles of all the different queer peoples of color.

Give me queers in space, battling evil empires and boldly going where no queers have gone before. I want to be able to unravel queer mysteries with fabulous detectives. I tell you, do not skimp on tales of queer cops and robbers, queer monarchs and peasants, and queer cowboys and Native Americans. I don't know why I cannot quit any of them. Give me myths of fairy godfathers making offers that cannot be refused. Give me the story of the spy who took her martinis stirred, not shaken.

I want romantic comedies about queer protagonists who search desperately the whole movie to find love and at the end do so. But tell to me also the stories of those queers who reject "love" believing it to be an invention of an oppressive heternormitive society.

Give me narratives with angry inches, at least 20 centimeters, boys who cried, and those who like it hot.

Create for me legends and fantasies of queer wizards and demons, of queer witches and warlocks. Tell me the tales of queer vampires and ghouls. Try and scare me with tales of queer psycho slashers stalking hapless victims through showers and dreams.

Give me queer heroes and villains, queers who can fly and queers who fall, queer saints and sinners. Give me the good, the bad, and the ugly of all things queer. Feed me the queerest soylent green you can find.

I want desperately to see a queer on the bow of the Titanic, screaming defiantly into the wind, "I'm the QUEEN of the WORLD!"

Show me the money of the queer wealthy, but please do not forget the suffering of the queer poor and homelessness.

Give me tales of queer youth and queer seniors. Do not hesitate to tell the stories of queers who are disabled. I want narratives with queers who are fat and thin and of those queers who are handsome or beautiful and of those who fail to meet their society's standards of good looks.

I want stories of queer couples who stayed together in pure monogamy until death bid them part. Then show me the chronicles of the queer sluts, whores, prostitutes, gigoloes, and porn stars. Do not forget those queers that never found love, the unlucky virgins, or those who willingly took vows of chastity.

Tell to me the tales of queer artists, for I want to know the experiences of queer poets, writers, painters, composers, sculptures, actors, actresses, directors, authors, and musicians. They are the stuff dreams are made of.

Show me the stories of queer scientists, professors, academics, thinkers, philosophers and journalists. But do not ignore the stories of queer idiots, morons, and dunces. They all had me at hello.

Give unto me, queer firefighters and arsonists, queer athletes and qeeks, queer teachers and students, queer doctors, nurses, paramedics and the queer patients they treated.

There are stories of extraordinary queers to be told and of those queers who were extremely ordinary. So give me queers who coulda been contenders.

I wish to know the stories of queer radicals, liberals, and conservatives, of joiners and rejecters.

Spin for me the stories of queer warriors, soldiers, and generals and of those who committed brave feats in battle. But tell me also of those queers who protested the unjust nature of war and of those who committed even braver acts of civil disobedience.

I want to be told the stories of queer politicians and leaders, of queer activists and social reformers. Tell to me of those whose impact throughout history is so great as to be immeasurable and of those who lived in obscurity their whole lives. I want queers who cared passionately about worthwhile causes and those queers, who frankly my dear, didn't give a damn.

Tell me the stories of queer marxists, socialists, and capitalists. Queers who are completely selfless and queers who believe that greed is good. I want to see queers screaming, "you are not your bank account!" I want the first and second rules of Queer Club to be that you do not talk about Queer Club.

Tell me the sagas of the queer working class, of queer farmers, factory workers, waiters, waitresses, airplane pilots, train operators, ship captains, postal workers, and tollboth collectors. I want to know the experiences of queer secretaries, administrative assistants, bureaucrats, tax collectors, telemarketers, childcare workers, personal aides, and taxi drivers. And, yes, *I* am talking to you.

Since I am greedy, spin for me myths of queer weirdos and freaks, and of rainbow flying monkeys.

Tell for me the histories of queers who accept the fate dealt to them and those who are now mad as hell and ain't going take it any more.

Document, I beg you, the stories of Sylvia Rivera, Glenn Burke, Ernst Röhm, Ruth C. Ellis, Georg Joachim Rheticus, Margaret Mead, John Reith, John Maynard Keynes, George Washington Carver, Alan L. Hart, Alan Turring, Bayard Rustin, Jean Jacques Régis de Cambacérès, Solon of Athens and too many other queers from history to list here. I want them all to be as widely known as that of Harvey Milk.

May not want a single story go untold because we were too afraid tell them.

Thank you.

December 13, 2011

Queer Review: Alexander (2004)

Alexander
Director: Oliver Stone
Writers: Oliver Stone, Christopher Kyle, and Laeta Kalogridis
Cast: Colin Farrell, Angelina Jolie, Val Kilmer, Anthony Hopkins, Jared Leto, Rosario Dawson, Jonathan Rhys Meyers, Christopher Plummer, Rory McCann, Gary Stretch, Ian Beattie

Note: This is the review of Alexander - The Director's Cut. I have not had a chance to see any of the other versions, such as Alexander Revisted - The Final Cut, as of this posting.

Overview
Oliver Stone's bio-pic of the most influential queer in all of history - Alexander the Great, "conqueror of the known world" - is unfortunately something of a dud. Confusing battle scenes, an unnecessary use of non-chronological storytelling, and a weak lead performance all conspire to create a movie far short of greatness.

Synopsis
Following the assignation of his father, King Philip II (Val Kilmer), Alexander of Macedonia (Colin Farrell) began a campaign to avenge his death, that ultimately took him all the way across the Middle East and into India. Even once Darius III (Raz Degan) - the one suspected of orchestrating the murder of Philip I - is dead, Alexander continues onward, driven by an extraordinary thirst for greatness and other inexplicable forces. Along the way, for the purpose of producing a heir, Alexander marries Roxana (Rosario Dawson), much to the consternation and jealousy of Alexander's lover Hephaestion (Jared Leto).

The Queering
I am not sure where Alexander went wrong. Most obviously, I think is that Oliver Stone took on more than he could handle, thereby making an ambitious but ultimately flawed movie. I give Stone credit for being willing to take on a project of this nature, where multiple competing interests had to have placed undue strain and pressure on the project itself. On one hand, I think Stone set out to make a movie that was honest to the known historical record, namely that Alexander had a relationship with Hephestian that was most likely both of a romantic and sexual nature. Unfortunately, the final result only shows how easily compromised even the best directors can become when working with a large budget.

It might not have been too bad, after all great pains are taken to show the depth of feelings that Alexander and Hephestian had for each other and the two are frequently shown being affectionate. However, while Alexander is shown actually having sex with Roxana, we get nary a hint that Hephestian and the conqueror of the known world did anything other then embody a certain stereotype often applied to lesbians, as we only ever see them cuddling. The double standard employed here is something I found rather troubling.

Beyond that, Alexander simply is not a terribly good film. The battle sequences are nicely shot but are edited in such a way that sucks both tension and coherency from them. Narration provided by Ptolomy sheds little insight into anything important and only serve to bog down the plot. Furthermore, the non-chronological way Stone choose to tell the story does little to keep proceedings from becoming tedious.

There are a few good things about Alexander. The recreations of ancient Babylon and other areas of the ancient world is beyond impressive. The historical accuracy, while not perfect, is damn good for a Hollywood flick. A few battles were condensed and one might assume that Alexander was plagerized by Virgil, given Alexander's perchance for quoting the writer some 200 years before Virgil was born but on the whole, more effort than usual was put into respecting the established historical record. Also, Angelina Jolie gives a beguiling performance as Alexander's mother, Queen Olympias, a woman who spends a great deal of time cuddling with snakes.

Unfortunately, Jolie gives the most memorable performance in the entire film. Collin Farrell is wishy washy performance as the titular character and Val Kilmer is given little to of interest to do as King Philip II. No one else, with maybe the exception of Jared Leto and Rosario Dawson, is really around enough to leave much of an impression.

In the end, the greatest crime is the lack of insight into Alexander's character. By the end of the film we know little of what motivated him beyond the standerd pop psychology explanation of "he had unresolved mommy/daddy issues". Combined with Farrell's problematic lead performance, and it becomes hard to for me to defend the movie when so much is wrong with the development of the lead character.

Recommendation
Unfortunately, greatness eludes this Alexander. Not worth the trouble to seek out unless one has a strong interest in the subject matter or in watered down depictions of queer love in mainstream movies.

The Rating




Trailer


Want to find a review of a particular work? Check out the Title Index, the archive of all reviews posted listed alphabetically.

December 10, 2011

Queer Review: Howl (2010)

Howl
Directors: Rob Epstein and Jeffrey Friedman
Writers: Rob Epstein and Jeffrey Friedman
Cast: James Franco, Todd Rotondi, Jon Prescott, Jon Hamm, Aaron Tveit, David Strathairn, Bob Balaban, Andrew Rogers, Mary-Louise Parker, Heather Klar, Jeff Daniels, Allen Ginsberg (in archival footage)

Overview
The issues of censorship and the question of what constitutes obscenity come together in this dramatic telling of the trial for Allan Ginsberg's poem "Howl". The trial itself is a little dry but the imaginative sequences inspired by the poem itself make the time spent viewing worthwhile.

Synopsis
One part of Howl focuses on the obscenity trial for Allan Ginsberg (James Franco) which features several literary experts testifying on the literary merits of the the poem. Another part features Ginsberg in a mockumentary segment answering questions about the poem from an inquiring researcher. The third part has Ginsberg reading the poem at Six Gallery Reading on October 7, 1955, which was the public debut, and also features some glorious animated segments inspired from the poem.

The full text of Howl can be read here.

The Queering
It is sometimes easy to forget that America in the 1950's was the very epitome of intolerance, as evidenced here when Allen Ginsberg's publishers are forced to justify the legitimacy of the poem in order to avoid criminal charges. You read that right, actual criminal charges. Shig Murao (who was unfortunately not depicted in the film) actually went to jail for selling Howl and Other Poems. First Amendment, what First Amendment?

The problem with the film Howl is that we didn't really need to see a dramatization of the trial itself. The scenes where literary critics debate the worthiness of the Howl are tepid and add little to the movie. The scenes where Ginsberg is being interviewed are a bit more interesting, as these feature James Franco giving a completely natural performance of the late poet and his defence here that Howl represents a sort of pure expression of human expression makes more sense than anything we see in the trial.

However, where the film really takes off are when Franco reads the poem in public and during the animated segments. These sections, set to Franco's narration, are what make the movie worthwhile. We did not need the trial to see the literary merits of the poem Howl, these wonderful sets of animated imagery - which honour Grinsberg's work and bring the poem itself to life - should be enough to convince anyone of the poems merits.

Recommendation
No reason to go around howling like a mad man to find this, but worth taking some effort for those interested in the subject matter.

The Rating




Trailer


Want to find a review of a particular work? Check out the Title Index, the archive of all reviews posted listed alphabetically.

November 27, 2011

Queer Issue: When Good Charities/Organizations Go Bad.

It's that time of year again and probably most people reading this have heard the ringing of bells for the Salvation Army. Most people probably even dropped in their lose change or maybe some dollar bills.

What many people who are donating might not realize is that the Salvation Army has a long and sordid history of discriminating against homeless and disenfranchised queer individuals as well as actively pushing for anti-queer legislation, a history that can be read about here. PFLAG of Genesee County and other organizations have engaged in boycotts of the Salvation Army because of their discriminatory policies.

The thing is, the Salvation Army is not the only charity/organization that does good deeds while otherwise promoting bigotry. Catholic Charities for example, has been in the news recently for discriminating against same sex couples and unmarried couples in their adoption programs. Much like the Salvation Army, this is an addition to promoting homophobic policies within their organization.

See also:
- Illinois, Catholic Agencies At Odds Over Gay Adoptions
- Illinois’ Catholic Charities Lose Right To Discriminate Against Same-Sex Couples
- Catholic Charities chooses worst option for complying with DC law...and pretends it has no choice
- Same-sex marriage leads Catholic Charities to adjust benefits

Another homophobic organization is the Boy Scouts of America and their bigoted Don't Ask, Don't Tell policy regarding sexual orientation. I can recall when I was in the BSA collecting food for a local food pantry and participating in a high-way cleanup where we picked up liter on a section of I-88.

Yet the BSA's DADT policy is one that is very harmful for queer youth. During my senior year of high-school, while working on my Eagle Project to achieve the highest rank that the BSA offered, I attempted suicide. My reasons had everything to do with having been forced into the closet as a result of the BSA's homophobic policy.

Now I can already hear the protests of but these organizations do good things! they feed the homeless! they provide structure and activities for youth! they rescue kittens and puppies from burning buildings! and so on...

Yes... true. But any organization that discriminates against a particular group is reinforcing bigotry and the long term effects of bigotry pretty much always include increased poverty, homelessness, suicide, delinquency, and more for the individuals against whom that bigotry is directed. In other words, charities that actively discriminate against minorities are not merely denying services to those minorities, they are contributing to a broken culture that helped to create the problem in the first place. Furthermore, any support of these organizations by outside individuals does exactly the same.

In the long run, it is better to give to and support organizations that do not practice discrimination as these organizations will have a much better effect at actually solving "the problem" (whatever "the problem" may be).

Here are a few examples worth drawing attention to:

Goodwill
Doctors Without Borders
American Red Cross
Ruth Ellis Center
Sylvia Rivera Law Project

Local Organizations for Oneonta/New York State:

- Berkshire Farm Center and Services for Youth and their LIFE House Program Oneonta
(runaway and homeless youth, foster care/adoption, various other youth related services)

- Habitat For Humanity Otsego County
(Housing)

- Oneonta Community Health Center
(Free Health Services for the Uninsured)

- Positive Connections: An HIV/AIDS support network in Upstate New York.

November 26, 2011

Queer Review: Partners (1982)

Partners
Director: James Burrows
Writer: Francis Veber
Cast: Ryan O'Neal, John Hurt, Kenneth McMillan, Robyn Douglass, Jay Robinson,

Overview
A cop "buddy" comedy, like so many that were made in the 1980's, with the exception that here, one of the Partners happens to be gay. While some may label this "progress" and such, it's not difficult to find a dozen or so films that came earlier that were more daring and radical, not to mention better made.

Synopsis
After the police department is criticized for failing to solve the murder of a gay man, Chief Wilkins (Kenneth McMillan) assigns the clichéd manly Detective Sergeant Benson (Ryan O'Neal) to go undercover with the clichéd gay desk officer, Kerwin (John Hurt). Naturally, this means that the two will spend the remainder of the film bonding with each other, while tracking down clues about the killer. For the most part, Benson works through his homophobia by uttering homophobic remarks whenever he gets angry and having sex with lots of women, while Kerwin cooks and does the laundry for both of them.

In other words, see Cruising and just add gay sidekick!

The Queering
As a viewer, you know your in trouble when a scene in a comedy that's played for drama gets more laughs then most of the scenes that are meant to be funny. Yup, that's right. This is a comedy minus any intentional comedy, a dramatic romance that veers into comedy, and a central mystery most likely likely to provoke the same kind of yawns suffered by a high-schooler trying to read War and Peace.

In the film's defence, it never manages to sink to Cruising's level of homophobia or become as painful to watch as Another Gay Movie. Instead Partners falls into pretty much the same category as I Now Pronounce You Chuck and Larry of a well meaning film that could pass for progressive and radical under certain circumstances, such as having been released back in the 50's. Thankfully, there's no equivalent scene here of having to watch Adam Sandler fondle a women's breasts, while she blissfully thinks he is straight...

There are many issues that I had with John Hurt's Kerwin. For starters, he never mentions having a boyfriend or having ever been in a relationship with another man. Given Kerwin's age, this is certainly rather odd. Then there is the fact that Kerwin is such a wall flower that he never defends himself whenever Benson uses a homophobic slur. As such, the relationship that develops between Benson and Kerwin felt borderline abusive to me, with Kerwin acting more like Benson's clingy servant than equal partner.

Then there is the ending, which has Kerwin saving Benson from the killer and getting shot for his efforts. Thankfully he does not die for this, but while part of me appreciated that Kerwin got to be all heroic and such, another part of me wanted to yell out, "Hello! The Hays Code was over before the 70's. You no longer *need* to punish someone just for being gay! Sheesh!" Progress, this is not.

Recommendation
If your partner suggests watching this, it's not time to break up, but it would still be worth considering.

The Rating




Clip
(Quick, spot which one of them is gay! It's so hard, ain't it?)


Want to find a review of a particular work? Check out the Title Index, the archive of all reviews posted listed alphabetically.