have a nice day
by Douglas Messerli
Etienne Kallos (screenplay, based on a story
by Diana Fithian, and director) Doorman / 2006 [17 minutes]
Etienne Kallos’ 2006 film Doorman is a
beautifully filmed, darkly subtle tale of sexual power and a personal coming
terms with sexuality.
Diego (Jamil Mena) is the doorman of an older New York apartment
building, who is in every way clearly proud of his job and conscientious about
his responsibilities. We see him clean off the desk with spray and towels,
sweeping up dirty areas in the hall and storage space, and we recognize when,
in the first scene, he puts on his uniform it is with a sense of pride and
respect of those he works under and for.
Early in the film he demands one of the tenants sign in her guest, and
buzzes in a handsome young man, evidently one of the tenants, but who either
has been away for a long period of time or is a newer tenant who has stored a
number of items which he now needs to bring back into his small apartment, and
in order to do that he must be accompanied each time by the doorman who takes
him by elevator to the storage unit from which he retrieves the boxes.
At one point, the boy finally moves from the back of the elevator
forward to its operator and puts his hand on his ass. Diego immediately pulls
away, shocked by the encounter, but also clearly unsure how to react to it. The
kid quickly pulls back, apologizing but after some pause, the doorman assures
him “it’s all right,” that he will not react with anger or violence to what is
truly an assault.
As he removes his uniform, we observe him staring at his own image into the mirror, obviously contemplating the contradictory feelings he is suffering.
But later we see him knocking on the boy’s door, the kid, Garret coming
to open it while still brushing his teeth, observing the doorman while continuing
to brush as if demanding that he wait before what is clearly intended to be a
sexual encounter. The kid returns to the bathroom, slowly finishing his
activity before returning to the room, approaching Diego, and attempting to
kiss him. Diego turns away, Garrett moving in back of him almost to assure that
he will not again make a direct frontal approach. He pulls Diego’s coat jacket
off, kisses his neck, and begins to slide his hand under his pants by his ass;
but again the doorman pulls away turning and reversing the sexual situation.
The next shot is the two of them together in bed, with Diego gently stroking
the boy’s face. Clearly he has taken control of the situation and feels satisfied
by
In
the next scene he returns to the basement where, presumably the janitors’ and
guards’ facilities are located, and takes a hot soapy shower, washing away any
sweat or other bodily fluids before he redresses and returns to his job. It is
the ambiguity of his responses that gives this film such an intensity. Hardly a
word otherwise is spoken.
Once more we see him washing down the small front counter, smiling at a passing tenant and handing her the mail. It is his domain.
But again we see him at the boy’s door, this time with a key. When he
enters the boy immediately undresses and the two embrace falling to the bed. He
wants to fuck Garret, but the boy refuses; yet presumably they have sex, the
camera showing them asleep. Yet suddenly Garret rises and moves into the small
kitchen, sitting on the floor facing away from the door.
The doorman gently asks him if he’s okay, and slowly reenters the
bedroom. Again they kiss, but this time the boy pulls away, a second or two
later pulling him back into an embrace and kiss, but yet again pushing him off,
a series of actions he repeats several times, demanding finally that Diego hit
him. The doorman answers that he cannot, but when Garrett shouts “hit me you
faggot,” Diego does for a second reacting violently, slapping him as the two
again embrace. It is evident that Garret is involved in the illicit
relationship out of some slightly sadomasochist desire, a sense of role-playing
involving Diego’s role and position in relationship to the boy’s own life, a
situation that completely confuses the simply desirous doorman.
Diego is now truly troubled about the relationship and even more
frightened for what he has done to the boy, terrified that it may lead to his
losing his job.
Still, he cannot resist the boy and arrives yet again with a gift of
wine in hand, perceiving this time that the door is lightly open. He enters to
see Garret and two other males sitting on the bed, perhaps sharing drugs,
Garret greeting him with a bit of confusion, crying out “What’s up.” Stunned by
the situation, Diego is speechless as one of the other boys asks, “So you’re
Garret’s friend? Are you a student?” He turns quickly and leaves.
Again we see him at the front desk, spraying and washing down the small
marble desk counter. And we realize he has now been put in his place, that the
obviously privileged college boy—probably a student at Columbia University
whose parents have paid the cost of small New York apartment for their son—has
truly dismissed him like the servant he is.
Garret enters from the street, pauses for a moment at the desk, and
moves on without a word, dismissing Diego’s very existence.
When Diego soon after encounters the boy in the storage room at night,
he moves forward, kisses him, and slugs him, turning back to embrace and kiss
him, and finally, turn away, pull down his pants and demand he “take it, take
it.” The boy fucks him, obviously given the groans, Diego’s first time. He
turns back and takes a long look at
In
a little under 18 minutes, this film has created a profoundly complex character
and explored aspects of gay sexuality in a manner that few short gay films are
willing to even attempt, let alone succeed as Doorman has.
Los Angeles, September 10, 2021
Reprinted from World Cinema Review (September
2021).
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