A CHANGE OF THE REEL
by
Douglas Messerli
Monte
Patterson (screenwriter and director) Caught / 2011 [12 minutes]
Obviously
influenced by William E. Jones’ now-classic 2008 film, Tearoom, which
used almost an hour of raw film data from a police sting of a men’s room in
Massillon, Ohio, Patterson’s Caught does the same for what are
supposedly tearoom scenes in Jonesville, Ohio where in 1964 a bathroom camera
hidden behind a mirror filmed over 68 men having different forms of homosexual
activity, leading eventually to 38 convictions.
Unlike Jones, however, who is fascinated
with how the sexual acts themselves reveal the sociological and sexual
interplay of men seeking physical love that they knowingly recognize as
outlawed, Patterson, in his faux documentary, is far more interested in the
psychological condition of a heterosexual man (Gabriel Gatton, to whose
character I shall attribute his name) who, despite an apparently loving wife
and a young male blonde-haired child, Georgie, visits the bathroom during this
short film three times in order to find sexual fulfillment.
The first two times quickly reveal the
unpleasant frustrations and dangers of such desires. The first time Gabriel
enters he immediately is faced with two rather heavy-set men in the toilet
stall, one sucking the other off. Our
“hero” moves to the urinal where he pretends to piss, one of the men from the
stall leaning back to get a view of the younger man’s face, whereupon Gabriel
decides to opt out of that day’s sexual adventure, moving instead to wash his
hands below the mirror behind which the camera is hidden.
The second time at the bathroom, dressed
far more casually, Gabriel encounters a handsome young man (Cole Simon) at the
next urinal, who when he turns to face him gradually moves his lips into a
knowing smile before flushing the urinal and going over to the mirror, where we
see the camera whirring behind it, to comb his hair. Soon, he returns to
Gabriel, putting his hand upon the other’s shoulder and messaging it
momentarily. A very unattractive intruder immediately enters while Gabriel
quickly scuffles off, obviously displeased with the interruption as he walks
quickly back to his Chevrolet.
During the next brief interlude at home,
his wife, smoking yet another cigarette, stands over the stove scrambling his
eggs. Georgie sits in his highchair, she bending to retrieve after she puts on
her gloves, apparently spiriting him away with her to church, while our friend
posts himself behind the local newspaper.
After Gabriel’s first spoonful of eggs,
Patterson’s camera immediately cuts to Gabriel sitting in his car yet again
outside the public bathroom, swallowing down a final sip of beer as if to get
up enough nerve to enter once more.
Later, in the midst of the police-viewing
of the camera scenes—wherein we recognize several of the men we’ve previously
glimpsed—and in in their later arrestment by police before being hauled off to
jail, Patterson briefly interrupts the surveillance shots to show us what
really happened during those lost camera moments. Facing Cole, Gabriel pleads
“Wait, wait, I’ve never done this before.” Cole looks longingly at his new
prey, while Gabriel asks, “What’s your name?” to which Cole replies, “Shit,
turn around,” forcing him into position so that he can fuck him, probably
Gabriel’s first and possibly only anal penetration.
The next cut shows Gabriel, dressed only
in his undershorts, opening his door to collect the daily newspaper where he
discovers through a headline that police have arrested 17 men at the men’s room
for “deviant behavior.” Each of the men arrested (Cole among them, having been
caught on camera with other sexual partners), if convicted, is sent to the
state penitentiary for one year.
In a highly ironic shift, our ears are
suddenly bombarded by the Bobby Vinton standard, “My Heart Belongs to Only
You.”
My
heart belongs to only you
I've
never loved as I love you
You've
set a flame within me burning
A
flame to stay within me yearning
It's
just for you I want to live
It's
just to you my heart I give
I'll
always be your slave my darling
Through
the coming years
Gabriel suddenly moves to his wife, kisses
her full on the lips and takes her upstairs to the bedroom, evidently to
celebrate his escape from justice through sex. It’s not to be, however, as he
quickly pulls away, driving off. In the film’s last scene, we see him sitting
again in the parking lot in the front of the bathroom, obviously contemplating.
Obviously, this is a kind of tragedy, not
because of his queer desires, but because of the restrictions put upon those
desires by the so-called normative society in which he lives. If he chooses not
to chance it again, he will have to accept a life of lies and dissatisfaction
that will offer him little else in the future but work, death, and the possible
dissolving of his marriage and the effects of that upon his little Georgie.
Perhaps what he has now assimilated is that although he has not been arrested,
he too has been “caught” and imprisoned for life.
Los
Angeles, October 28, 2020
Reprinted
from My Queer Cinema blog and World Cinema Review (October 2020).
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