Monday, January 1, 2024

Callahan Bracken | Boys Beware / 2017

the homoeroticism of boys in 1950s movies and tv

 

Callahan Bracken (screenwriter and director) Boys Beware / 2017 [1 minute]

 

In Callahan Bracken’s 1-minute short he uses a rotoscope and found footage to explore the issues that the original Boys Beware couldn’t even have imagined, just how homoerotic youth films have been over the years.

     In one-minute he simply dusts off the surface of such a deeply homoerotic culture, particularly in its depiction of young boys engaging in competitive competition, marking them up with clown-like color and white-outs on parts of their bodies which only re-emphasizes the sexuality of the images of the 1950s.

    This is certainly not a profound work given the superficiality of its image bank, but it still drives home the point that homosexual-like images and open homoerotic expressions of physical beauty are so very embedded in our popular culture that any disdain of homosexuality as opposed to heterosexuality is nearly absurd, young boys having already been inundated with the imagery in their daily lives.

      Today, given the many gaming sites and other sources of male sexuality on Tik-Tok and what used to be called Twitter (now X), as well as Instagram and Pinterest, not even to mention the thousands of available male porn sites, it is virtually absurd to imagine that we need fear homosexuals themselves as the villains in trying to entice young boys into LGBTQ sexual activity. The media, generally pretending to reflect the heterosexual culture at large, has been far more successful in selling gay sex to young boy—if young boys can be taught to behave differently from their own in-born sexual desires.

      If nothing else, this film reminds me, yet again, of why I never felt completely divorced from gay images and models as I grew up. Yet clearly, hundreds of boys could not identify the numerous homoerotic images on TV and film, and had no opportunity to read books involving real homosexual and lesbian heroes by such writers as André Gide, Thomas Mann, Jean Genet, Djuna Barnes, Jane Bowles, and the others I encountered as a youth.

 


Los Angeles, January 1, 2024

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


Sean Baker | Tangerine / 2015

christmas in los angeles

by Douglas Messerli


Sean Baker and Chris Geroch (writers), Sean Baker (director) Tangerine / 2015

 

 Two transgender friends, Sin-Dee (Kitana Kiki Rodriguez) and Alexandra (Mya Taylor) are sharing a donut at Donut Time, unable to afford anything else, as the conversation turns to Sin-Dee’s boyfriend Chester. Having just been released from prison, Sin-Dee is about to announce that she and Chester are soon to be married, but her confidant Alexandra mistakes the turn in the conversation as being a declaration that their relationship is over and expresses relief that Sin-Dee is dumping the man who, in her friend’s absence, has been having an affair with a white girl—who, even worse, is actually a woman! Moments later Sin-Dee, after recognizing what her friend has just expressed, Sin-Dee is transformed from a slightly exaggerated figure of the street into a towering Medea, out for revenge, while the movie—filmed amazingly on an Anamorphic widescreen attachment to an iPhone—goes into overdrive, speeding up the action as Sin-Dee, briefly abandoned by Alexandra for her drama-queen tactics, goes on the hunt.



      Within the span of about an hour and a half, Sin-Dee swoops down upon the city with a nearly supernatural force that makes the grandest diva seem like a cheerleading choir singer. Alexandra, slowly traipsing behind her friend in an attempt to bring some sobriety to the whole affair, is herself stalked by ghosts of the world in which she lives while attempting to keep “it together” as she passes out postcard sized Xeroxed invitations to an event at which she plans to sing that night in a West Hollywood bar.

 


     If these two represent a community most Americans might never have before imagined, we gradually are so fascinated—and, secondarily, appalled by their actions and the world in which they exist that, particularly given the intense Techni-colorization of the LA landscape—we simply cannot resist watching.

    Those of us who live in Los Angeles are used to the vast ranges in color of golden yellow landscape of “winter” afternoons as the light sinks into a sky of striped pink, purples, blues, and slate greens before the magical electrified landscape lights itself up for the night; but outsiders will surely not believe what they see. The landscape is naturally as exaggerated as the always “dramatic” characters and the world they inhabit. Day and night, we soon perceive, for these female-male prostitutes (a hybrid species as sweet and sour as the mandarin orange found in Tangiers now called a Tangerine) live lives of “drama” without a break, madly loving and hating the world around them while they seek out moments of self-expression and wonderment in the interstices of their boisterous actions. But in those moments, as this movie goes marching forward into nearly manic force, there is little time even to catch a breath.


    With hound-dog desperation Sin-Dee manages to track down her sexual competitor through bus, subway, and taxi rides that take her from the outskirts of West Hollywood all the way to center city transient motels, seeking out the girl Chester has purportedly been fucking, with only the suggestion being that her name begins with a “D.” No poet could possibly be as devoted to a single explication of a sound of a letter than she, discovering her Dinah (Mickey O’Hagan) in one of the worst flop house motels one might have imagined, with the ugly male clients grope their prostitutes in any possible space the rooms permit: bathrooms, showers, and closets.

     Dinah, it turns out, is a fairly ignorant southern hillbilly who, in her squealing pain of injustice is hardly able to speak; but Sin-Dee refuses to be calmed as she brutally pulls, punches, slaps, and drags the poor girl through the streets back into her own territory just south of what tourists describe as Hollywood!

      Meanwhile, Alexandra makes her way through the same streets, picked up by a cheap and abusive white client determined that she help him in “just getting off.” When he can’t even get an erection, she attempts to escape with her prepaid cash, while he, in turn, grabs back the money, while she attempts to steal his car keys, the scuffle ending up in an embarrassing encounter with the local police who force both what they perceive as the losers into a stand-off.

     Another, equally important plot line tracks a married Armenian taxi driver through his day, as he encounters a near dying American Indian named Mia and two drunken, retching party-goers who turn his taxi into a stinky vessel of other rider’s disdain. But what becomes even more startling is that this father and breadwinner, Razmik (Karren Karagulian), has a thing about transgender prostitutes: his preference, as a gynandromorphophile, being to suck off their cocks

     For most moviegoers, I am sure, what I have just told you might dissuade you from seeing this film. But the fact is, if you can get over your amazement that such people, behaving so different from most of society, exist, you cannot help but perceive them as loveable, if troublingly disturbed beings who, as the movie progresses, are destined to farcically come together in ways that only someone like Spanish director Pedro Almodóvar might have imagined. 


     Gradually this Los Angeles “on the road” spectacle settles down into a comical-tragic conclusion as Sin-Dee, with her tortured girl in hand, determines to attend Alexandra’s singing premiere—an event to which nobody else has bothered to show up.

     Dinah, suddenly, reveals she has a secret weapon, drugs, which Sin-Dee, pipe in hand, cannot resist, and the two suddenly bond at the very moment that Alexandra is attempting to make her impossible claim for fame. Her terribly sad and touching performance of Victor Herbert’s “Toyland” will certainly put tears in your eyes, even if the previously violent events did not make you perceive the utter desperation of these figures. The fact that Alexandra has had to pay for her own failed premiere, makes it clearer yet that these women of the streets have nowhere to go—not only to sleep through the night, but in their own imaginations.

     Determined to drag Dinah back to her cheating Chester, Sin-Dee returns to the pimp’s nightly office, Donut Time, at the same moment that the Armenian taxi driver—having left his wife in mother-in-law, in the midst of a family cultural celebration—arrives to declare his desire for Sin-Dee. 

 

    The arrival in this sudden hot spot of Raznik’s mother-in-law, and, soon after, his wife, child at breast, is obviously a bit too much to believe, and almost topples the film into a kind of absurdly implausible melt-down, as everybody, betrayed by everyone else in this topsy-turvy universe, is forced to realize and encounter realities outside of their comprehensions.

     If Chester finally convinces Sin-Dee of his love and commitment, the sudden revelation that he has also had a brief sexual encounter with Alexandra, shatters the theatrical semblance of reality. Razmik’s hunger for transgender cock similarly creates an incomprehensible barrier between husband, wife, and mother. This crazy, vital, nasty reality seems ready to collapse, and for a long few moments, it appears that all of the characters, Raznik, his wife, his mother-in-law, Sin-Dee, Alexandra, and, most painfully, the totally unwanted Dinah, must come to terms with the realities of their lives: that they are all figures who nobody can truly love.

     Troubled by Sin-Dee’s response to her betrayal, Alexandra alone trails after her, attempting, quite lamely and ineffectively, to apologize to no effect. When Sin-Dee meets up with a potential client, she pushes Alexandra off; at least she might bring in some money before the end of this long day.

     As she approaches the car, bigoted youths toss hot coffee into her face in mockery, drenching her clothes and wig, the most important elements of her female identity. Alexandra comes rushing forward, dragging her resistant friend into a laundromat, demanding she give up nearly all the external elements of her identity and desired beauty so that they might be cleaned. The abandonment of her wig is the most devastating subtraction. As the two sit in pain waiting for the washers to complete their spin, Alexandra, in a gesture so graceful and magnanimous that we are stunned, offers the now hairless Sin-Dee her own long straight locks. But in that very act, for the first time, we truly perceive Alexandra’s saintly dome, blessing her with a beauty that her wig could only hide.

     Did I forget to mention, this all happens on Christmas Eve? Nowhere else could such a lovingly outré tale be told as a Christmas story but in Los Angeles, a world where all the simple myths of snow, crèche, and cathedral have absolutely no significance. But yes, I will now watch it every Christmas as a true significance of Christ’s birth. Despite….well it isn’t even despite any longer: these figures, so very separated from human kindness, have discovered how to love in way that resonates with a deeper humanity than many of those sitting in their cozy, ordinary homes.

 

Los Angeles, July 17, 2015

Reprinted from World Cinema Review (July 2015).     

Fred Avery | A Wild Hare / 1940

kissing the enemy

by Douglas Messerli

 

Rich Hogan (story), Virgil Ross (animation), Fred Avery (director) A Wild Hare / 1940

 

In this Bugs Bunny’s premiere, writer Rich Hogan, animator Virgil Ross, and director Fred Avery try out numerous of the aspects of Bug’s personality that will remain with him throughout the years, including the famed line, “What’s up, Doc?” and his flirtatious reaction to most forms of danger, as if to suggest that nature—to which in no way the rather sophisticated and campy Bugs is truly related—always knows best, winning the day against any attack.

 

    In this case the attack comes from Elmer Fudd who immediately explains his activity as he tiptoes through the woods, “Shh. Be vewy, vewy quiet. I’m hunting wabbits.” Coming upon Bugs’ rabbit hole, he puts down a carrot as lure and hides behind a tree.

     We see only the rabbit’s hand leave the hole, as it dances forward to feel out the object set before him as it quickly snatches it up.

     The hand reaches out once more, perhaps in expectation of yet another carrot, but this time feeling the metal of Elmer’s double-barreled shotgun, withdrawing his fingers as fast as he can. When Elmer shoves the barrel into the hole, a struggle ensures, with Bug’s incredibly tying up the barrel into a bow, his first “gift” to his hunter.

       Frustrated, Elmer begins to dig into the hole, although seeming to get nowhere, while Bugs pops up from another nearby warren, watches Elmer at work, lifts the digger’s hat, and knocks upon his cranium, chewing a carrot and uttering his memorable first words, “What’s up Doc?”

      Elmer explains that he’s hunting “wabbits,” Bugs, curious to know what a rabbit is, inquires while chewing a carrot whether it has a white tale (displaying his own) and merrily hopping through the forest, proceeding to hop until finally Elmer wonders whether he might, in fact, be a “wabbit,” as the chase momentarily resumes.



     Bugs quickly hides, however, and comes behind the always unsuspecting Elmer, putting his hands over his eyes and asking, “Guess who?” Elmer names several famed female movie stars who names, given his speech impediment, are nearly unpronounceable, before finally again guessing that it is the “wabbit,” Bugs awarding him a big kiss on his lips—the very first of many such impulsive expressions of love Bugs would award his enemies and friends in what might at first have just been perceived as just a tease, but gradually would be recognized as Bugs Bunny’s totally transgender nature.

      When Elmer sticks his head down the hole soon after, Bugs kisses him yet again, and soon after when Elmer pulls out a skunk for his “foolproof” rabbit trap, kisses him one more time as the skunk himself winks flirtingly at his startled embracer, as if to suggest that no one has ever bothered to show him so much love.

       One can’t exactly describe these rather bizarre incidents as being “gay” or even sexually intended, but they almost immediately push the Bugs Bunny cartoons into a dimension wherein through his unpredictable, outsider status, it is established that Bugs is willing to straddle not only our logical expectations but matters of the relationship of the natural world to so-called “civilization,” straddling gender, sex, and even matters of religion and race. The “wild hare,” truly is a hair-raising phenomenon as, near the end of the film, he even enacts, quite melodramatically, his own death before kissing Elmer once more and marching off to the utter frustration and fury of the man who momentarily found himself sympathizing with his victim.

       Bugs, so Warner Brothers quickly established in their Merrie Melodies series, is the disarmingly clever and carefree self we wish we could be when faced with societal, political, and sexual adversity.

 

      I should note that there is another version of this same cartoon, titled The Wild Hare that used the same frames but was colored almost entirely in gray, browns, and beiges. Perhaps it was re-released during the war years when the rich colors of the original paints were no longer available, or it is a pirated edition that simply mistakenly (or intentionally) changed the title.

 

Los Angeles, February 4, 2023

Reprinted from World Cinema Review (February 2023).

Lem B. Parker | Sissybelle / 1913

a painful lesson

by Douglas Messerli

 

Edith W. Roberts (screenplay), Lem B. Parker (director) Sissybelle / 1913 || lost film

 

Another of the “sissy” films of the early twentieth-century, Lem B. Parker’s Sissybelle features Percy Putnam (Roy Clark), the seven-year-old darling of a wealthy mother (Eugenie Besserer) who has cabined him away in the nursey to play with dolls, just like his little sister, hoping that he might not be contaminated by the naughty boys of the street. She also teaches him sewing. And every time he has an ache or pain of any kind she puts him to bed immediately and calls the doctor.







      Tired of his effeminate son, Percy’s father (Henry A. Livingston) lifts him up out of his room and sets him out, symbolically speaking, in the back alley to await what the neighborhood hoodlums hand him, the enforced lessons, he insists, that every boy needs to face in order to learn the “manly” art of self-defense.

      Actually, he does even worse by sending the boy to the country and drawing up a contract between himself and a gang to help make sure Percy gets some hard blows in order to come back as a man. 

     This is certainly one of the most extreme films on both sides of the effeminate / macho syndrome concerning male behavior.

      Since I was unable to see the film, I don’t know what happens to the poof of a tyke, but we can be sure he ends up in tears and returns with a dirty face, perhaps even a black eye, and a few broken ribs. There’s no girl in the wings here, just the unnecessary handing out stereotyped patterns by both his pater and mater, and of the course the writer and director who dreamed up this short film. Whether young Percy grows up to be a heterosexual or a homosexual is not the issue here. It is all about heteronormative notions of behavior predetermined by both parents, who ought to be shot for having named their son Percy and treating him like he were a cardboard cutout.

        This was a Selig Polyscope Company production located in the Edendale district of Los Angeles, one of about 3,500 films made by the Studio, all but about 200 now lost.

 

Los Angeles, September 30, 2022

My Queer Cinema Index [with former World Cinema Review titles]

Films discussed (listed alphabetically by director) [Former Index to World Cinema Review with new titles incorporated] (You may request any ...