acquisitions
by Douglas Messerli
In fact, it is precisely this “transcendence” through his homosexual
isolation that helps to make Dreyer’s film such an exceptional work of art.
What might have been dished up as a kind of soap-opera-like freak show is
instead presented in an extremely subtle series of events in which, through his
focus on the rooms and objects of Zoret’s over-stuffed abode, their attire, and
a careful study of the character’s faces, Dreyer conveys far more than what
might have been conveyed if this had been a talking-picture. As dismissive
commentators have noted, it’s true that this early classic of gay filmmaking
shows no kisses, no overtly languorous stares, nor even any hugs; but through
head pats, a moment of hand-holding, and the clear representation of near-nude
figures for which Michael modeled in the paintings, it is obvious, unless the
audience is determined to be blind to the reality, that Zoret and Michael do
not only share a house and an intense master-student
Even long after Michael has gone upon the chase of the Countess, leaving
Zoret alone for a long period of time, and, after running up debts in his
entertainment of Countess Zamikoff, the young man returns, ready, apparently,
to resume to his usual chores of rubbing warmth into Zoret’s cold feet—an act
we would never expect of a pupil or even would-be adoptee. No, this is the act
of a younger lover.
Dreyer’s film (as perhaps did Bang’s novel—there is, alas, no current
English translation) assumes a situation that often arises in such man-boy
relationships, that the younger lover is bisexual. And Zoret recognizes that
reality is one which he simply must endure. The fact that Michael spends part
of his time eyeing the ballerinas is something the older man has come to
expect. But what he has not prepared for, as his loyal biographer-friend Switt
almost vengefully informs him, is that Michael might really begin an affair
with a woman who is not even a ballerina, but a mutual acquaintance the artists
himself has attempted to paint. That fact not only forces him to face the
reality that he may lose his beloved boy, but that, in many ways, he already
has lost the youth as Michael has grown up in front his eyes, now ready to
sever his life from his mentor. More devastatingly apparent, moreover, is
Zoret’s gradual realization that his talent is not a great one; the artist
could not complete the Countess’ portrait, only Michael accomplishes that by
bringing it to life through capturing the beautiful woman’s eyes.
Blinded by his love for the Countess, Michael dares to sell Zoret’s best
painting of him, “The Victor” behind the artist’s back in order to support the
penniless and in-debt woman. Yet Zoret, despite his great pain in hearing of
the sale, controls his emotions by secretly buying it back and returning it,
with enormous generosity, to his former lover.
As critic Jim Clark has perceptively observed (in one of the most
thoughtful essays on this film published on his “Jim’s Reviews” blog) our
hero—and it is important to recall that the gay figure Zoret, not Michael, is
the center of this film—behaves in a manner that we will not again encounter in
films with gay figures for another half-century or more. Unlike most of the gay
figures of later films until the 1960s, Zoret, obviously suffering from loss of
love, rejection, and the degradations of age, does not have a psychological
breakdown ending in suicide. Rather, he accepts the slings and arrows of lost
love with graceful equanimity, much like Der
Rosenkavalier’s the Marschallin. If his loneliness and sadness end,
predictably, in death, it is, nonetheless, a death of a man who has lived life
to the full rather than an isolated and closeted sexual being. In fact,
Dreyer’s script suggests that Zoret’s love for Michael grows even stronger
through the sacrifices he has made.
Oddly enough, the object of that love, and of the smothering caresses
within the Countess buries him to prevent the youth from running to the bed of
his former Master, is the only being in this film who, we project, will
ultimately discover he has no real love to turn to. As Clark points out, the
movie, resolving its many loose strands one by one, ends in a kind of stasis,
not only with Zoret’s physical death, but with Michael’s spiritual death. We
can only imagine that Michael one day, having spent the money bequeathed to
him, will discover that he lost even that which he has mistaken for love.
Biographies report that Dreyer was evidently a very private man, whose
own love life is little known, made more complicated by the fact that Dreyer’s
major biography by Maurice Drouzy has yet to be translated into English. However,
new information has continued to arise about Dreyer and his films over the past
few years; and Drouzy has suggested more recent findings, suggesting that
perhaps in the 1930s, after making Michael,
Dreyer may have engaged in temporary homosexual relationships which ended in
his nervous breakdown. What is clear from seeing this early Dreyer film, is
that, if nothing else, Dreyer was most sensitive even before acting on his own
sexual inclinations to gay sexuality, permitting his film to sensitively and
even unpredictably express what it might really have meant to be a gay artist
early in the 20th century.
What also becomes apparent through this film is that the Germany in
which this cinema was made was more open and accepting of a sexual situation
than most countries for many decades to come. The New York Times critic Mourdant Hall, for example, described the
story as being “handicapped by queer titles,” and criticized the film for
presenting “less than favorable national figures on the screen.” The truth is
that the hero of this lovely portrait is far more favorably presented than was
Wilde’s secretive admirer of men in The
Portrait of Dorian Gray.
Los Angeles, Christmas Day, 2014
Reprinted from World Cinema Review (December 2014).
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