Quality and quantity have moved in blips, blocs and waves. Things aren’t particularly robust for gay films and movies post-Stonewall. “Queerness” is more normal than it was in, say, 1953. Western social culture has surpassed its popular cultures. It’s one that takes in both judgment and the hunger to live beyond its shadow. Beard has collected the different ways in which filmmakers and the society saw both homosexuality as an orientation and queerness as a culture. Here, that turning point feels also like a breaking point.Īnthropology appears to be the primary lens of this series.
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The series reminds you of the struggles of sin and propriety afoot before things turned. The uprising marked a political watershed. This is work made before the 1969 riots that erupted after patrons of Greenwich Village’s Stonewall Inn had enough of the cops harassing them. Beard and his pre-Stonewall designation in the subtitle frames the way the films operate on their own, yes, but also as part of a family. Even something loosely coherent like Jean Genet’s “Un Chant d’Amour,” from 1950 and set, yes, in a men’s prison, opts for eroticism before tragedy. The least punishing, least cruel, most fun, fanciful, sensual, adventurous films - the queerest - tend to be the work of the practicing queers. Beard’s series allows you to observe how identity played out.
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But Wood did himself believe he was what his movie calls a transvestite. Markopoulos and Andrew Meyer, whose 1966 short gives the series its title. … You are society - judge ye not.” Wood doesn’t get drawn into the same queer circles as Warhol and Mr. This is a picture of stark realism - taking no sides - but giving you the facts - All the facts - as they are today. The movie opens with a title card that pleads for sympathy: “Many of the smaller parts are portrayed by persons who actually are, in real life, the character they portray on the screen. Will he tell his fiancée? And what do those creature-feature interludes with Bela Lugosi have to do with it? The movie delivers on Wood’s famous mediocrity, but astounds you with its sincerity, even when its clumsy, which, for most of its hour-plus running time, it is. But the quest for its protagonist to live as Glenda - in 1953! - generates its own suspense.
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This series’ programmer, Thomas Beard, gives you Ed Wood’s “Glen or Glenda.” The film doesn’t quite know how to talk about being born into a body that isn’t yours (not by current standards, anyway). You bring your ideas of, say, how transsexuality might have gone in 1953. A good film series can change the way you watch a movie. When it comes to art, time and context are almost chemical properties. That’s still the case, even under these circumstances.Īnd the circumstances matter. The series has camp, melodrama, Andy Warhol and the heart-attack-inducing fantasia of Jack Smith, whose “Flaming Creatures” is often the mountaintop of any series or festival that’s smart and bold enough to include this once-“indecent” avant-garde masterpiece. There’s also the mere fact that the German-Hungarian theater director Leontine Sagan had a little film career and that her “Mädchen in Uniform,” from 1931, about girls at a boarding school, is the film that most moved me. This gamut covers a lot of ground, too: the winking mannerism of Alfred Hitchcock (“Rope”), the dimensional experimentalism of Gregory Markopoulos (“Twice a Man,” with a young Olympia Dukakis), the serene classicism of Vincente Minnelli (“Tea and Sympathy”), the icebox psycho-expressionism of Ingmar Bergman (“Persona”). “Looking” went away last year, and the reason to bring it up now is that the Film Society of Lincoln Center is mounting a major weeklong film series about the bad old days called “An Early Clue to the New Direction: Queer Cinema Before Stonewall.” It’s an unapologetic, unmitigated, mesmerizingly diverse assembly of 23 feature-length movies and 25 shorts that constitutes a kaleidoscopic portrait of self-discovery and shame. Here was often excellent television that wanted to recast gay life in a 21st-century light, in one of the world’s gayest cities. But its alleged dullness - its normalcy - was a kind of achievement.
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And the ratings were obviously the reason the show was canceled. “Boring” was probably the reason that ratings weren’t great. Where was the sex? (The crazy sex.) Where were the social issues and politics? One guy works at a video-game company? Somebody else wants to open a restaurant? Snooze. Gay people complained - sighed, really: It’s so - boring. Before HBO canceled that show about the gay friends in San Francisco - it was called “Looking” - people complained.