anchoring
by Douglas Messerli
Welby Ings (screenwriter and director) Boy /
2004, USA 2005 [15 minutes]
One of the most innovative and visually
stunning short films of the early 2000s, New Zealand director Welby Ings’ Boy
(2004), is a work without dialogue that tells its story through its arresting
images and words printed on those images. The printed word has great
significance for professional art designer Ings, who himself didn’t learn to
read until age 15.
The
short textual matter imbues the film with a poetic quality while also
representing the voices of the town’s citizens like a chorus who shout out
derogatory words to the film’s young hero, such as “pussyboy,” “fag,” “rent
boy,” “prostitute,” “slut,” etc.
Ings describes the work’s “language” as representing:
“Written words as thoughts, comment on or
interrupt developments in the film as fragmented or poetic text. The language
in this text is either poetic or references the little-known New Zealand bog
cruising sub-cultural language of bogspeak or parley.”
The narrative is basically a one-line incident, a man (Bryan Bevege)
driving the empty roads outside of a small New Zealand town, distracted by his
cellphone, accidentally strikes a young female walking alongside the highway.
He stops the car to check on the body, discovering that the girl is dead; but
instead of calling the police, he drives off, turning the accident into a case
of hit and run.
Meanwhile, Sam, also the local male rent boy, a peroxide-haired high
school student who lives with his grandmother visits the town’s public
restroom where he picks up most of his tricks. When someone enters the cubicle
next to his, he peeps through the glory hole only to glimpse the driver, a local
man he recognizes, washing off his hands in the toilet having taken off his
blood-stained
The moment he leaves, the boy rushes in to scoop up the coat in the
pocket of which is a bloody piece of the girl’s garment and several of the
driver’s credit cards.
The body is found by the police, the local newspaper reporting the event
as a hit-and-run by someone who perhaps doesn’t even live in the town. But
others suspect foul play from someone in their midst, including the driver’s
wife (Amanda Macek) who reports to the local police chief that she has found
blood on her husband’s shirt.
Although he is now possibly a suspect, the driver is still not arrested
and follows Sam, who is bicycling with a little cart hooked behind the bike as he makes his way through town—the upright citizens of this scuzzy village all
observing him with distrust and disdain—to the shut-down factory, the murderer entering while Sam hides, the man shouting out that if he ever finds him he’ll
kill him.
At school several fellow classmates, male and female, mock him and when
Sam goes to his school locker he discovers it has been spray-painted pink.
In another such instance when the boys suit up for gym practice the
driver’s son (Luke Thompson) and other boys attack and beat Sam. All,
obviously, are veiled threats aimed at assuring the fact that he will never
talk about what he has witnessed, the father perhaps having encouraged his
son’s homophobia without revealing the reason behind it.
Sam has long grown used to it all, and witnesses most of the townies’
stares of hatred by recognizing some of them in his head as his regular
customers which the narrative reveals by suddenly showing them in pink tutus
and bras—a stereotype which I wish Ings might have avoided, but which obviously
represents their hypocrisy.
Yet Sam has also clearly been hurt by the small-town bigotry, the film
twice showing him encountering his younger self to reassure him as Ings
introduces the film’s major vocal musical number, “Anchor Me,” the 1994 song
recorded by the New Zealand rock musical group The Mutton Birds:
Full fathom five
Someday I'll lie
Singing songs that come
From dead men's tongues
Anchor me, anchor me
As the compass turns
And the glass it falls
Where the storm clouds
roll
And the gulls they call
Anchor me, anchor me,
anchor me
Ings’ 15-minute short was shown internationally in LGBTQ festivals, winning awards. Since then, he has made two further short films Munted (2011) and Sparrow (2016), and in 2020 released his first feature film, Punch, just made available in the US.
Los Angeles, April 30, 2021
Reprinted from My Queer Cinema blog and
World Cinema Review (2021).
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