Wednesday, December 11, 2024

Barbara Willis Sweete, Phelim McDermott, and Julian Crouch | The Enchanted Island / 2012 [Metropolitan Opera HD-live production]

everybody's opera

by Douglas Messerli

 

Jeremy Sams (writer and conceiver), with music by George Frideric Handel, Antonio Vivaldi, Jean-Philippe Rameau, and numerous others, Phelim McDermott and Julian Crouch (stage directors), Barbara Willis Sweete (film director) The Enchanted Island / 2012 [Metropolitan Opera HD-live production]

 


Perhaps for the first time since the days of Baroque opera, an opera company, in this case the New York's Metropolitan, performed a pastiche, a mix of operatic works assembled and woven into a new story. As several critics noted, this might have been a disastrous mish-mash of music and story, but with the encouragement of the Met's general manager, Peter Gelb, Jeremy Sams' selections intertwined with elements of the plots of Shakespeare's The Tempest and A Midsummer Night's Dream, the opera community has a charming new work that threatens to become a standard in opera houses. Certainly I would go back for another visit to this quite satisfying piece.

     Prospero (David Daniels), having taken over the "enchanted" island of the title's name, has at first loved and then abandoned Sycorax (Joyce DiDonato), a sorceress banned to the dark side of the kingdom, now furious for the results. Prospero and his daughter Miranda, having stolen away Sycorax's spirit servant, Ariel (Danielle de Niese), spend most of their days reading books filled with the formulas of potents and magic spells, attended by Caliban, Sycorax's dunder-headed and brutish son. He, she argues, using him to gain entry back into Prospero's sight, should be the inheritor of the island! Yet it is clear, Caliban has little talent to rule anything.


     Passing by this isolated island is a ship bearing Prince Ferdinand, a likely suitor for Miranda's hand. Determined to marry her off to Ferdinand, Prospero plans to summon up a storm that will bring the Prince to his island and into the arms of his beloved daughter. Ariel, who is charged to carry out the spell, however, chooses—in part because of the influence of Sycorax—the wrong ship, and sets the storm upon a boat carrying four Athenian lovers, who wind up upon the island instead of Ferdinand. Confusing the two males of the foursome with Ferdinand, Ariel serves them a magic potion, which brings all those involved, Miranda, Helena (Layla Claire), Hermia (Elizabeth DeShong), Demetrius (Paul Appleby), and Lysander (Elliot Madore), into a confusing series of mismatches, each falling in love with the others, until it is difficult to know whom is madly in love with whom.

     Indeed, as in Cosí fan tutte, it doesn't seem to matter—one by one they feel betrayed, confused by the vagaries of the heart, while Caliban cooks up his own scheme to be loved by one and all, men, women, animals, and demons from the dark.



       As in Baroque opera, each figure gets his or her own say in a series of beautiful arias, some well-known, others long forgotten.

     It is only by calling up Neptune (Plácido Domingo), at first furious for the interruption, then magnanimous in his help, that order is restored, Miranda married to Ferdinand, Sycorax restored to her proper position and the Athenian foursome paired with whomever they might at the moment desire.

     The frothy results are a delight, but would not have been so amazing without the wonderful costumes and sets of Phelim McDermott and his team (who previously put together the set and costumes for Satyagrapha). Every moment of this splendid work is underlined with their splendiferous wit.

     In a post-post modern culture such as ours, it is only fitting that pastiche might come back into fashion, and if The Enchanted Island is any sign of its pleasures, bring it on. As the opera closes, even its performers seem enchanted by the experience as they joyously sing "Now a bright new day is dawning." Bringing together numerous composers, this is everybody's opera and an opera for everyone.

 

Los Angeles, March 16, 2012

Reprinted from Green Integer Blog (March 2012).

 


Axel Barranco | Deseo (Wish) / 2020

i don’t want to be a woman

by Douglas Messerli

 

Axel Barranco (screenwriter and director) Deseo (Wish) / 2020 (17 minutes)

 

Mexican director Axel Barranco’s Deseo takes us back to the black magic of the gods as expressed in Otavio Chamorro’s “animal love,” in this case the forces still powerful in the Mayan statues a young boy and girl discover in a Mexican museum.

     Alejandro (Pablo Flores) and Lucia (Matilde Castañeda) are on a class trip at the National Museum where there is currently a Mayan exhibition that will be ending the next day. Both are bored and disinterested in the trip except that the people to who they’re both attracted to are there also, for Pablo his fellow classmate Javier (Héctor Marino).


      Their teacher’s announcement that they have to now enter the show allows what Alejandro perceives as a special moment when they can actually approach the boys they desire, asking them if they might accompany them in the show. Alejandro goes first, striking up a brief conversation with Javier, who seems affable enough and readily agrees to join Alejandro.

     Their brief discussions are rather aborted, Javier saying that he’s been considering his future, and Alejandro, obviously too nervous to even respond, saying there nothing happening with him. As they enter the darkened rooms, Javier asks if his friend actually thinks these works are magical, and after a pause Alejandro says, “Yes,” staring intensely at his friend as the other observes the statues and other artifacts. Alejandro suggests it’s getting hot, and pulls out a notebook, Javier handing him a pen so that he might take notes. One can perceive that even that small gesture excites Alejandro.

     The boy tries to get up the courage and finally does ask Javier, “Do you want to go out...,” his friend immediately responding “Yes, I’m hungry,” turning to leave, while Alejandro, now alone, finishes his sentence “...on a date with me?”


     Even more alone now than before, he mutters to himself, “Maybe if I were different...Javier would want to go out on a date with me.” Unknown to him, the crystal at which at they have been looking glows white, obviously its magic at work.

     The next morning when he awakens to his usual 7:00 clock alarm he gets out of bed to discover only dresses in his closet, and when he looks into the mirror he has long hair and, so he discovers, small breasts. He is now clearly someone different, Alejandra (Giovanna Jiménez), who, in delight, applies makeup and dresses in a completely different way for school that morning, which even her best girlfriend recognizes as a change: “How did you get so pretty?”

     Before she can even get comfortably ensconced in her classroom Javier asks her if they can study together and a few seconds later invites her out to dinner that night.


     At the restaurant, she is delighted for the company and begins small talk in a way that all first- time daters do, both ordering similarly barbecued hot wings, he an orangeade and she a lemonade.

She asks him why he asked her out on date and Javier responds that he has always seen her as someone different and special, surely pleasing the inner Alejandro.

     When she asks him what he planning on studying, however, he suggests two quite radically different alternatives, the first that he would like to study acting and the second that he may join his father as an accountant. On what does it depend? He’d like to study acting but it’s a family tradition to be an accountant, his father, grandfather, etc. which is the direction his family prefers.

      Alejandra suggests that he should choose that which makes him the happiest. But he finds it difficult to be loyal to himself. If he would study acting, he answers her query, he might study in New York, the name of which lights up Alejandra’s face: that was where Madonna got her start?

     Like the soccer player, asks Javier, clearly having no clue who Madonna is.

     When she asks him what kind of roles we wants to play, he mentions that he recently told his father that the only thing he could never do was act a “a gay role, a faggot role.”

     “No, no, no,” she immediately corrects him, “A homosexual role. Not a faggot role. Homosexual is the way you say it.”

     But he cannot get her drift. “Homosexual, faggot, gay....”

     “No, no, no. They’re aren’t synonyms,” she interrupts. “It’s just homosexual, period.”

     “Whatever...it’s just a disease.”

     The waiter delivers their drinks.

     He repeats that it is a disease, Alejandra again correcting him, “It’s not a disease.”

     “I have read about it,” he insists.

     “No, it’s not a disease. OK. It’s just a preference.” Suddenly rising, she turns back to him: “And I can’t believe you don’t even know who Madonna is.”

      She continues: “You should study acting. There are lots of roles for assholes.”

     In the next frame we see the Mayan stone now glowing purple and Alejandra running up to the museum and begging the guard to let her in just for a moment, but he will not relent. The show leaves the next morning, and we see Alejandra sitting near the museum door in tears and desolation.


      A figure is in bed, and the alarm rings, this morning at 11:04. Alejandro awakens, checks out his chest and peaks in his pajamas just to see his cock before he rises and dances with joy. He is still a gay boy, happy to be who he is.

 

Los Angeles, July 20, 2021

Reprinted from World Cinema Review (July 2021).

Juan Sebastián Valencia | Magico / 2019

real magic

by Douglas Messerli

 

Juan Sebastián Valencia (screenwriter and director) Magico / 2019 (17 minutes)

 

Columbian-born director Juan Sebastian Valencia’s US production Magico begins simply as a work about the magician’s performance of sleight-of-hand tricks. In fact, the work begins with the young would-be magician Luke (David Aaron Evans) attempting to perform the vanishing magician trick. He stands before his audience, placing a red cloth in front of him, the cloth falling to the floor to reveal the missing man of magic. But as another rehearsing magician entering the rented hall points out “I can see you!”

     He continues, “Show me something real.”


     The young magician snaps back, “Who says it’s real. It’s called magic for a reason.”

     The other suggests he must like being the guy who performs for kids at parties.

    The interloper, so he explains, is the one who rented the room at 4:30, and it’s now past that time. Luke apologizes, and the other, Carl (Sam Street), apologizes as well for interrupting the trick, “even if it was fake.” It order for it to be magic, he insists, “it has to be real.”  “The only way you can tell if a magician has real magic is to learn his tricks.”

      Pulling out a small wand and asking for Luke’s hat, he insists, “The wand doesn’t carry magic, it just helps the magician focus his magic outwards.”

      Luke is skeptical of Carl’s seemingly empty dictums.

      But Carl, unperturbed continues. “Your emotions help connect you with the soul of the trick.”

He continues, as he speaks, to wave his wand over the other boy’s hat. “Here,” he offers up the wand, “try it.”

      The minute that Luke moves into the space near the hat there is a loud snap as the two suddenly find themselves in a dark space they cannot identify. As Carl offers his hand to lift up Luke to check the territory, the latter suddenly finds himself moving up through his hat, returned to the space on the stage where they had begun. He is confused, astounded. The magic has clearly been real in his head.

     Asked how it feels, he can only say, “Amazing.” Just as suddenly they both find themselves on an ocean beach, eating ice cream. Carl continues his lecture, suggesting that what most magicians forget is that the magic has to be for them as well as for the audience.

      By the very next scene, it is clear, the two have become friends and are dressed in outrageous costumes presumably about to perform together. Another man, perhaps Luke’s “roommate” Sergio, wants to photograph them before they perform. And Carl has brought Luke a special gift, his very own wand.

     In the very next scene, they are in a room with a bed, without their costumes, with Carl suggesting that Luke’s roommate is going to wonder “what we’re doing in here.” Luke suggests, “You better lock the door then.” Carl does.

     Over the next few moments they strip down to their underwear as soap-bubbles begin the fall all around them, with Luke declaring “Real magic.”


     Time has passed, two weeks we later hear, and Carl has evidently disappeared. We must read, presumably the previous scenes as a kind of condensed metaphoric expression of a whirlwind romance between the highly romantic Luke and the older Carl, who quite literally, to pull out the old cliché of inexplicable sudden love, “has been swept off his feet.” The wands Carl talked so much about quite obviously, become the film’s representation of their cocks which apparently truly helped to focus their inner joy on one another, making something that is never “real,” what we describe as “love,” seem real in its transformation of one another’s lives.

     But now that Carl has suddenly left, leaving Luke confused and lonely, the magic obviously has left him. And when he runs into to Carl again, it’s clear that his brief encounter wants nothing to remind of what happened between the two, his female partner also being his wife.

     Without the film precisely saying this, it is pretty obvious that Carl is one of the numerous bisexual men who play around when their heterosexual mates are away.

     It is now up to Luke alone to find his own magic, and no matter what tricks he attempts, no matter how hard he tries to repeat the old illusions, nothing comes of it.

     He was hoping that together with Carl that they would easily win a national magic competition, but Carl makes it clear that Luke and he are not a couple.

     Luke practices, gradually focusing his tears into frozen crystals of snow-like flakes that gather on his cheeks. But he is not at all certain that he has anything special to show the competition judges. As he is called in to perform, he once more encounters Carl and his wife (Dicle Ozcer), Carl pausing to attempt to explain what clearly needs no explaining. But as Luke turns away, a few bubbles suddenly appear, evidence that there has still some feeling for Carl and even more importantly, that Luke has not lost his own magic.

     He enters the audition without any props, standing alone on the stage as his tears turn gradually turn into snowflakes that magically fill the theater, wowing the judges who are amused and amazed by the boy’s inexplicable “trick.”


     This film was awarded the Best LGBT Short Film Independent short awards and received other awards as well. For me, however, the magic existed more in the beautiful images of the film than in its rather clumsy metaphorical statements.

 

Los Angeles, July 20, 2021

Reprinted from World Cinema Review (July 2021).

 

Otavio Chamorro | Vagabunda de Meia Tigela (Floozy Suzy) / 2015

animal love

by Douglas Messerli

          

Otavio Chamorro (screenwriter and director) Vagabunda de Meia Tigela (Floozy Suzy) / 2015 (25 minutes)

 

This Brazilian work begins with an athlete running around the school track alone. There is, however, one good-looking young boy sitting alone in the stands, a book in hand, Amor Animal, a work that apparently, so we discover, contains several recipes for making someone who is not in  love with you or who would never even imagine loving you, suddenly fall madly in love. This book contains not only magical potions, but ways in which to change bodies, to transform people into other people, and other supernatural alterations that, as we soon discover, can be dangerous.


     The cute boy drinks the potion and comes down to offer another bottle to the runner Angelo, who is afraid that someone might see him with the boy, who obviously is gay, but relents when the kid brings him a bottle of the potion which is believes will help him win the upcoming marathon. 

     Angelo drinks, almost immediately turning back to the boy whom he finds to be utterly irresistible, going over to him and kissing him on the lips. At that very moment, the boy keels over, evidently dead as he hits the ground.

     30 years later, things have quite radically changed at the same school. The gay boy at the center of this part of the film, Jonas John (Peterson Andrade) is far more obviously effeminate and clearly involved in cross-dressing. His hair is dyed pink.

     Indeed this scene begins with a woman, Floozy Suzy, wrestling Jonas John on the school yard, winning as she pins him to the ground. Her boyfriend, Romulo, comes to Jonas’ support, pulling his girlfriend off of the boy she describes as a fag, unable to comprehend why her boyfriend continues to protect him. Indeed, there does seem to be an inexplicable connection between the two, and it is clear that Jonas in in love with his protector. Evidently Jonas helps Romulo pass his exams by sneaking the answers to him during class.

      And the boy does seem particularly close to Jonas, checking on his scratches later in the school hall and telling him that Suzy just doesn’t understand that Jonas is special to him. When Suzy again intervenes, Jonas takes to the school library.


      The library has seen better days, ruled over by a sassy librarian who seems interested primarily in eating smelly and stinky lunches of termite stew and other delicacies, and who hasn’t evidently reshelved a book since the days of the young boy we saw in the first scene Tobias. Jonas is unable to find Animal Love, the book which led Tobias astray.

      When a skirmish with Jonas makes her drop her dish of termite stew, the boy is forced to clean it up, but in doing so discovers the magic book in a crook between the bottom rows of a self, grabbing it up and making plans, like Tobias before him, to turn Suzy’s boyfriend into his lover at the Halloween school dance.

      The librarian is terrified that her “doomed fairy” will also die, leaving her with another death on her conscience; but, successfully pulling the book away from her, he pushes forward gathering the ingredients which, in fact, do sound very much like the magic potion cooked up by Bianca De Pass, the witch in Bell, Book, and Candle to counteract the love spell put upon the film’s hero by the lovely Gillian Holroyd. Bat wing, Marabu weed, caramel syrup, the smelly underpants of a hot male athlete, and spit of a man (in this case, a donation of Romulo) are quickly gathered up Jonas and his librarian ally.


      When Jonas’ nerdy friend Nestor discovers the infamous Amor Animal in his friend’s bag, he is also, quite reluctantly on his part, pulled into helping with Jonas’ schemes by helping him steal Suzy’s cellphone.

      Meanwhile, we see the mad wizard of love whipping up his love potions. And the party has already started by the time Nestor delivers up the cellphone.

      The plot here thickens, alas, a bit more than the potion has, as Otavio Chamorro’s narrative becomes weighed down by a series of somewhat unnecessary complexities, Jonas calling her friend to tell Suzy that her cellphone has been found in the library, Suzy busy kissing Romulo at the party forced to leave her boyfriend in the hands of her best friend Marileen who quite literally does “replace” Suzy by immediately making out with the fickle Romulo, and adding a touch of horror by having Suzy—dressed up like the devil herself—wandering the darkened library before she meets up with the librarian who invites her to cool down with a coconut drink which knocks the girl out that Jonas can take over Suzy’s body and presumably replace her in Romulo’s loving arms.

     By the time he arrives at the party, however, Romulo is so involved with Marileen that he wants nothing to do with Suzy, and Jonas as Suzy is so infuriated that she/he quickly leaves the party to take the antidote that will change him back into himself again.

     Only the vial which needs to be smashed to free the spirits which will take him back to himself seems to be unbreakable despite how much Suzy attempts to dance a samba upon it. Nestor and Jonas/Suzy look on in horror as the vial simply refuses to give up its contents.


     Finally, Suzy returns to the party furious with course of events, getting drunk, falling down and    passing out in the street. Several students gather round her trying to bring her back to life with chants of “whore,” “slut,” and similar adjectives the like of which she has all her life applied to others. But in the process a heavy-set boy stomps on the vial, breaking it. Back in the library Jonas wakes up with Nestor at his side and rushes out in an attempt to find out what has become of Suzy.

     Observing what’s going on, Jonas suddenly turns on his fellow students, shouting, “This asshole”—pointing at Romulo—cheats on her in front of the whole school and you call her a slut?”

He suddenly find himself protecting her just as once Romulo protected him against her.

     But the school administration and students are outraged by both of them, and they wind up with Nestor in a kind of lockdown cleaning up after the party. Nestor, who has missed participating in the Chemistry Olympiad, is angry for having risked everything for his friend, and tells him, in front of Suzy that he’d warned him against all the “magic.”

     She suspects something, but Jonas quickly shifts the word to suggest it is his own moniker, “Miss Magic,” and Suzy goes off, not wanting any part with either of them. Once she’s gone, Jonas reprimands Nestor, suggesting that maybe he wanted to tell her about switching bodies as well, and wondering why Nestor is always following him. “After all, what do you want?”


     At the very moment of their face off, Nestor moves forward with an intense kiss that is returned by Jonas, leaving the latter astounded, a little confused, but equally delighted.

     The next day in the school hall, we see some other boy unsuccessfully trying to hook up with Suzy, Romulo prowling alone, and Jonas and Nestor hand-in-hand. The magic has worked its own tricks.

     Sitting alone in the school library, Suzy glances once more at a photo of her and Romulo, tossing it to the floor. When she finally decides to bend down to retrieve it, she discovers under it the once again “lost” book Amor animal, taking it up and reading one of its entries, “Camel’s Magic.” Get ready for Act III. 

 

Los Angeles, July 20, 2021

Reprinted from World Cinema Review (July 2021).

Mark Marchillo | The Curse of the Un-Kissable Kid / 2013

i’m just wild about harry

by Douglas Messerli

 

Mark Marchillo (screenwriter, based on a story by him and Matt Marr, and director) The Curse of the Un-Kissable Kid / 2013 (13 minutes)

 

Marchillo’s message, aimed at younger kids in The Curse of the Un-Kissable Kid is far more charming and, in the end I believe, helpful in permitting seemingly unloved gay boys come to terms with childhood dilemmas than is Adam Baran's Jackpot, another one of the films connected in gay magic.

      It begins with the school bully Ryder (Joseph Haag), on the very last day of school, searching through the men’s room to find and torture the young boy Josh (William Leon). Josh, meanwhile, is hiding out in the women’s bathroom, but even when he finally escapes from his hideout there he still meets with the bully who throws him to the ground, spits on him, and throws dirt and grass on his face.


      A meeting with an obviously queer Principal (Drew Droege) does nothing to improve the situation since he is obviously more interested in completing his crossword puzzle than in meting out any fair punishment to the attacker, arguing to Josh that he simply needs to learn to fend for himself, obviously sharing the viewpoint of director Adam Baran.

     At home after the event, as Josh hides out in his locked room, we perceive that his father (Brady Matthews) is no better than the school administrator in actually communicating with his son, suggesting that everything is okay even if he doesn’t want to open the door and talk to him and his wife. Every choice for them seems to be based on whatever least troubles their son; so empty are their attempts in communication that while his father speaks, Josh opens his bedroom window and escapes.

      He rides his bike immediately over to the town fair, meeting up with his best friend Caitlyn (Liv Southard) who is out strolling with a friend whom she introduces to Josh as “just Clark” (Christopher Bones) who she is apparently using as a carrier for stuffed animals she’s won, candy cotton, popcorn and whatever else one accumulates at such county and town fairs. She met Clark, so she tells Josh, at day camp, leaning closer to whisper to her friend, “He’s rich.”

     But almost immediately Josh spots his nemesis once more, and again is on the run, with Caitlyn screaming after, “I seriously think you’re helpless without me, helpless.”

      With no place else to go, Josh slips in the back of a small tent announcing that there is a “gypsy inside.”

     In the dark, Josh is suddenly accosted by the gypsy (Lee Meriwether) who declares: “I’ve been waiting for you. Quite a long time.”

      “I have to go see my friends,” he insists, to which the gypsy answers, “No, you have no friends.”

      And like all such county fair gypsies, when he begs to know how much it’s going to cost she asks him to close his eyes.

      We are, of course, getting near to the territory of another great adult children’s tale, The Wizard of Oz, and like the male gypsy in that work, she finds out a great deal about him from simply by riffling through his pockets, pulling out a five-dollar bill, and offering him something that she is certain will work for him, a special potion which she insists will make all of his problems disappear. She hands it to him as he stares at her in vague wonderment, she snapping him back to reality by demanding ten bucks!


     Outside the tent again, he opens the elixir and drinks without even reading the label. When he finally reads the fine print he discovers: “Congratulations, after drinking this you will disappear within 24 hours unless you experience true love’s kiss.” A rather astounding demand to suddenly put on a 12- or 13-year-old who clearly also has other problems to face. “Good luck with that,” the bottle’s fine print message concludes.

      By the next morning while he sits in a garage with Caitlyn who is apparently attempting to sell encyclopedias, he explains his situation, putting his hand out to reveal that already it has begun to fade. “What am I going to do?”

      “Well, I guess you’re just going to have to kiss around a bit.”


      For a moment he looks back at her, an unspoken pleading in his eyes to which she reacts: “What? Oh no you don’t” Clearly she’s not the true lover he’s seeking. Yet he still tries, complimenting her on her looks, and remarking on their long friendship; but the moment they move together to possibly kiss, her mother appears, shocked and ranting against even the possibility of her baby being kissed my a boy: “My God. You know what happens to little girls....they grow up and become hookers.” Clearly, her mother, like Josh’s Dad, does not offer successful parenting skills.

      Josh is on the run once more. And his whole torso is now beginning to fade in and out. He attempts to rush up to several women, who quickly rebuff his attempted kisses. When he tries to kiss a baby, the mother hurries off with the child in the carriage. Even a dog runs off. When he attempts to pay a young hooker, she grabs the money, shakes her head, and walks away.

      Back at the fair, Josh mans a “kissing booth,” with Caitlyn trying to sell tickets in support of “ugly orphan babies.” “Maybe you should change your hair,” she suggests, trying also to reassure him, “It will be okay.” Finally, she leans quickly forward and plants a kiss on his lips. For an instant they both think maybe...until he looks down to see his legs have left his pants.


     Suddenly someone comes up to the booth to buy a ticket. It’s just Clark, who kisses Josh on the lips giving Josh immediate new life, Caitlyn nodding to the camera, “I knew it.”

      Looking down to see that his legs have returned, Josh says, “Thanks Clark,” to which the other boy replies, “It’s actually Harry. Caitlyn just doesn’t like it.”

      A few second later the boys go into a rousing dance number of “I’m Just Wild About Harry,” and Caitlyn suggests the bully, Ryker, take a drink from the still half-full bottle that Josh bought from the gypsy. Assuming it’s alcohol, he complies.

 

Los Angeles, July 19, 2021

Reprinted from World Cinema Review (July 2021).

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 ...