Lavender Screen – My Own Private Idaho

LavenderScreen–MyOwnPrivateIdaho
Discussiontopics
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Thefilmdialogueisinneo-Shakespeareanlanguage.Howdoesitfeeltohavesucha
contemporaryfilmtoldthisway?
HowusefulisthisasanadaptionofHenryIVpart1?
Howdoesthisfilmreflectoncontemporaryissuesandhowwelldoesthissuitanadaption?
WhathasbeenthelegacyofNewQueerCinema?
Howmuchdifferencedoescastingapopcultureicon(KeanuReevesinIdaho,Benedict
CumberbatchinHamlet)havetothemarketingandconsumptionoftheplays?
TheNewQueerCinemadefinition
AtermfirstcoinedbytheacademicB.RubyRichinSight&Soundmagazinein1992todefineand
describeamovementinqueer-themedindependentfilmmakingintheearly1990s.Theterm
developedfromuseofthewordqueerinacademicwritinginthe1980sand1990sasaninclusive
wayofdescribinggay,lesbian,bisexualandtransgenderidentityandexperience,andalsodefininga
formofsexualitythatwasfluidandsubversiveoftraditionalunderstandingsofsexuality.Since1992,
thephenomenonhasalsobeendescribedbyvariousotheracademicsandhasbeenusedtodescribe
severalotherfilmsreleasedsincethe1990s.FilmsoftheNewQueerCinemamovementtypically
sharecertainthemes,suchastherejectionofheteronormativityandthelivesofLGBTprotagonists
livingonthefringeofsociety.
ShakespeareGetsaQueerUpdatebyChrisMelville
http://roosterillusionreviews.com/2013/11/05/the-tuesday-zone-shakespeare-gets-a-queer-update/
Althoughitmightnotbeimmediatelyclear,MyOwnPrivateIdahoisastructurallyloosebutunique
interpretationofShakespeare’sHenryIV,Part1;HenryIV,Part2;andHenryV.Thesethreeplays—
thelastthreeofatetralogyandsometimesreferredtoastheHenriad—followPrinceHal,sonof
KingHenryIVofEngland,ashegoesfromrecklessyouthtoKingHenryV.Halisacomplexcharacter
becausehismotivationsarenotalwaysclear,andhisactionsareattimeshardtoreconcilewithhis
proclaimedinnerself.Heofteninformstheaudiencethatheishangingoutintavernswithcriminals
sothat,whenheisforcedtobecomeking,peoplewillbesurprisedbyhowquicklyheabandonshis
lifeoffrivolityandactslikearesponsiblemonarch.ButthewaythatHalshrugsoffhisfriends,
namelytheobese,goofy,andabsurdtavern-dwellerandrobberFalstaff,hasoftenleftaudiences
andcriticsthinkingofhimasacold,heartlessman.
MyOwnPrivateIdahoreshapesthisnarrativeintooneabouthustlers,withScotttakingtheroleof
Hal,BobPigeontheroleofFalstaff,andMike—thecentralcharacterinthisfilm—theroleofa
relativelyminorcharacternamedPoins.TheshiftedfocustoMikecreatesasecondaryperspective
intoScott’stransformationfromasociallyunacceptablecharacterintoasocietaldefinitionof
proper,whichilluminatesaspectsofHalthatareoftennotconsideredbythosediscussingHal’s
motivationsandactionsintheHenriad:namely,therolethatconstrictingdefinitionsofmasculinity
haveintransformingHal.ByvirtueofreshapingtheHenriadintoaNewQueerCinemafilm,director
GusVanSantilluminatesShakespeare’soriginaltext,whichismorethanmanystraightadaptations
attempt—andsometimesfailcompletely—toaccomplish.
AlthoughtherearemanydimensionsoftransformationinhowVanSantadaptsthetext,theone
thatIthinkismostuniqueandinteresting—atleast,forthosewhoareawarethatthemovieisan
adaptation—isthewayScottactsagainstsocialnormsascomparedtothewayHaldoes.Scottisa
tavern-goer,andultimatelywastessignificantamountsoftimeonboozeandothernon-regalthings.
ThisisahugepointinHenryIV,Part1:HalisnotworthyofbeingKing,becauseheissounlike
anotherkeycharacter,Hotspur;whileHalscrewsaround,Hotspurfightsinbattles,thinksabout
fightinginbattles,andgetsangryatpeoplewhowon’tfightinbattleswithhim.Hotspurisa
paradigmofmasculinity,andsoHal’sinabilitytoliveuptohisstandard—whichhisfather,theKing,
belabors—isinmanywaysacommentaryonHal’sfailurebecauseofhislackofmasculinity.
VanSantingeniouslyhighlightsthisbymakingScott’shomosexual—andfrivolouslysexual—
behaviourserveastheschismbetweenhimandhisfather.Heisundesirableasasonofthemayor
becausehedoesnotexistintheworldofheterosexual,conservativelysexualsociety.So,when
MikeandScottfinallytaketheirtripandScottfindsaniceItaliangirl,Carmella(ChiaraCaselli),to
settledownwith,Scottistransforminghimselfintoapersonacceptablebysocietalstandards.The
depressingdegreetowhichScottistotallychangedishighlightedbyrefocusingthenarrativeon
Mike,asitmakesusconsiderwhoisleftonthesidelinesbyScott’sbehaviour.Whentakenbackto
theHenriad,weseeaclearpaintingofHalassomeonewhoisforcedtobecomeanewperson—one
whoiscolderandgenerallymorestoic—becauseoftheexpectationsofmenwhoaretotakeonany
positionofpower.
MyOwnPrivateIdahomanagestocreatebothabrandnewstoryoutofShakespeare’stexts,andat
thesametimebothreflectandilluminatethedepthofthecharacterswhohavelongstayedinthe
mindsofreaders,playgoers,andscholarsalike.WhentheinsightfulscriptthatVanSantwroteis
pairedwithsoliddirectionandfantasticacting(inparticularonthepartofRiverPhoenix),yougeta
Shakespeareadaptationthatisthatandmore.Idahoisanintriguingmovie,andinmyopinion,a
damngoodone.Ihaven’tcoverednearlyeverythingthatthismoviemanagestodo,butIthinkthat
whatIhavediscussedrevealsthefilm’sdepth.Idaholingers,makingyouquestionthemateriallong
afterthestoryhaswrappedup,andinthatwayVanSantmosthonourstheimportanceandpower
ofShakespeare’sfantasticallycomplexplays.
Twenty-fiveyearsofNewQueerCinema:Alookbackatafilmmovementthathaschallenged
stigmasanddefendedthetransgressive
byNathanSmithforTimesEducationSupplmentFebruary5,2015
https://www.timeshighereducation.com/features/culture/twenty-five-years-of-new-queercinema/2018251.article
NewQueerCinemawascharacterisedbyatenaciousrefusaltogiveintothestigmatisationofgay
men,transgenderfolkandqueers
ThereisamomentinGusVanSant’s1991filmMyOwnPrivateIdahowhenthemaincharacter
awakensonadesolateMidwesternAmericanhighway.Mike(RiverPhoenix)isagaystreethustler
whosuffersfromnarcolepsyandexperiencesperiodiclapsesintimebecauseofhispredilectionfor
dozingoff.Afterabruptlyfallingasleep,theconfusedMikefindshimselfonadesertedhighway
staringoffintothemiddledistance,whiletheroadendlesslymovestowardstheharshhorizon.The
windslowlyrustlesasacresofscorchedyellowgrassenvelophim.Thissceneisoneofthemost
symbolicmomentsinamovingtaleoftwoadolescenthustlerswhostruggletofindthemselves–
bothsexuallyandemotionally–duringtheheightoftheHIV/AidscrisisintheUS,whilesocietyat
largeshunsthesepromiscuousanddisplacedqueers.
ThehighwayisoneofmanymetaphorsusedbydirectorVanSanttoshownotonlythefineline
manyqueersnegotiate–theelusiveso-called“straightandnarrow”weneverseemtobeableto
successfullytrek–butalsothein-betweenstatuswefaceasmenaffordedtheprivilegeof
masculinitybutvilifiedbecauseofourdesireforthesamesex.MyOwnPrivateIdahowasa
landmarkfilmwhenitwasreleasedintheearly1990sandjoinedotherstandoutmoviesofthetime,
includingJennieLivingston’sdocumentaryonNewYork’sundergrounddragshows,ParisisBurning
(1990);ToddHaynes’featurePoison(1991);DerekJarman’sversionofChristopherMarlowe’s
EdwardII(1991);andGreggAraki’smovingroad-tripfilm,TheLivingEnd(1992).
Thiswaveoffilms,famouslychristened“NewQueerCinema”bythecriticB.RubyRich,canbeseen
asaresponsetothestigmaandshamewroughtbyaculturethatcontinuedtopathologisegaymen
andblamethemforthedevastatingHIV/Aidsepidemic.Manyembracedthetenetsof1980squeer
theoryandacademicdisciplinessuchaspost-structuralismtoreconfiguresexualityasafluid,
dynamicandconstructedexperience.AfteradecadeofneglectbytheUSgovernmentandPresident
RonaldReagan–whoutteredtheword“Aids”onlyyearsafterthecrisisbegan–NQCsoughtto
rectifytheabsenceofauthenticgayandqueerrepresentationsincinema.Itsenergies,Iwould
argue,arestillpercolatingthroughtoustoday,25yearsaftertheinitialimpactofthemovement.
Buttounderstanditsimportance,onemustalsoconsidersomeofthetransgressiveworksthat
emergedfromitsurgentdesiretochallengerepresentationsofhomosexualityonscreen.
NQCwascharacterisedbyatenaciousrefusaltogiveintothestigmatisationofgaymen,
transgenderfolkandqueersthathadbecomemorepronouncedduringthepreviousdecade.
Instead,throughstoriesoftimetravel,dragandgenderperformances,andself-destructivesexfuelledroadtripsacrosstheUS,directorsfoughtagainsttheabjectandhatedstatusofqueer
identityanddefendeditasanimportantandtransgressiveexperience.
Thisearly1990scinemawasalsointerestedincomplicatingcertaingayfiguresofthe20thcentury.
TakeSwoon(1992),TomKalin’saccountoftheinfamous1920sloversRichardLoebandNathan
LeopoldJunior,whoallegedlykilleda14-year-oldboy“forkicks”.Manydirectorsinthegay
communitywouldhaveavoidedsuchastorybecauseitseemstotouchonclassicHollywoodtropes
aboutgaymenasmurderous,abjectanddestructive.NotKalin,however,whomadehisfilmwithan
achinglymournfulblack-and-whiteaestheticandadeepunapologeticdesiretoreprioritisethe
genuineloveandpassionthepairhadforeachother,ratherthanconcentrateonthegraphickilling.
YetonlyyearsaftertheNQCmovementgotunderwaysopowerfully,itseemedtopeteroutas
Hollywoodbegancapitalisingon“gayfilms”.Manyhavecriticisedthewaythatitsinvolvementinthe
mid-tolate1990ssawrepresentationsofgaylivesmigrateawayfromdestitutionanddeathto
suburbiaandtheurbansprawl.Insteadoffilmsrootedinarejectionofthepathologised
representationsofgaymenasabjectpromiscuousoutcasts,wesawthemrepositionedinmore
neighbourlyandcampymainstreamroles.So,duringthelate1990sandearly2000s,wehadfamilyfriendlydragqueenswhosavedasmallbackwardstown(ToWongFoo,ThanksForEverything!Julie
Newmar,1995);amonogamouscoupleinTheBirdcage(1996),whocopewiththeir“marriage”
problemswhiletheirsonmarriesaRepublican’sdaughter;andtheEnglishteacherinIn&Out(1997)
whois“outed”attheOscarsbyaformerstudent.Althoughsomeoftheenergiesofthesefilmsare
investedinwhitemiddleAmerica,itishardlyfairtoblameNQCforthefactthatoneofitsspin-offs
wasthisseriesofbadHollywoodcomediesthattrivialisedtheplightofgaymenandmadethemthe
alliesofstraightcommunities.
YetwithoutNQCwewouldprobablyneverhavehadthemuchmorestrikingandpowerfulfilmsthat
cameafter.Iamthinking,forexample,ofKimberlyPeirce’sBoysDon’tCry(1999),theharrowing
truestoryofatransmanwhowasbeatenandeventuallykilledbyacquaintances;AngLee’s
BrokebackMountain(2005);orVanSant’sbiopicMilk(2008).Thenarrativesofthesemoviesare
preoccupiedwiththeemotionaldepthoftheircharactersandmakingaudiencesidentifywiththem.
Theyhavegarneredmainstreamcriticalandcommercialsuccess,showingthatqueerexperiences
canbereal,sometimesdifficult,butalwaysworthyoftheHollywoodscreen.
OtherfilmsofthepastdecadehavealsodrawnontheforcefulnessoriginallyreleasedbyNQC.
TheseincludeHedwigandtheAngryInch(2001),directedbyJohnCameronMitchell,whoalsoplays
thetransgendersingeratthecentreofthestory;DuncanTucker’sTransamerica(2005),inwhicha
transgenderwomansetsoutonaroadtripwithherson;andGreggAkari’sKaboom(2010),winner
ofthefirstQueerPalmattheCannesFilmFestival,whichusessciencefictiontoexploreadizzying
rangeofsexualpreferencesandpracticesamongagroupofcollegestudents.Theseareworksthat
exploretheundersideofthequeerexperience,movingbeyondgaymentoabroaderarrayofunderrepresentedsexualitiesandidentities.Tobringthestoryevenmoreuptodate,itisworth
mentioningtheAustralianfilm52Tuesdays(2013),whichexploresthestrugglesbetweenamother
anddaughteraftertheformerrevealsherplanstogendertransition.ThepairmeeteveryTuesday
forayearduringhertransition,whichisparalleledwithdaughterBillie’sownadolescentsexual
awakening.DirectorSophieHydedecidedtofilmeveryTuesdaynotonlytomaintainverisimilitude
butalsotocultivateadocumentary-likestylethatemphasisesthestory’s(extra)ordinariness.Since
itsoriginalrelease,52Tuesdayshasplayedatcountlessinternationalfilmfestivalsandcinemas.
ThepasttwoyearsalsosawseveralprojectsthatinstantiatedNQC’soriginalgoalofdignifyingqueer
liveswithpersonalisedandintimateemotionalstories–and,ofcourse,screentime.Abdellatif
Kechiche’sBlueistheWarmestColour(originallyLaVied’Adèle,2013),basedonJulieMaroh’s2010
Frenchgraphicnovel,offersavividaccountofalesbianawakeningandloveaffair.Matthew
Warchus’Pride(2014)considersthelesbianandgayactivistswhosupportedthe1984miners’strike.
(Justhowfarwestillhavetogo,however,issuggestedbytheDVDreleaseofthisfilm,whichwas
marredbytheappearanceofabadphotoshopjobonthefrontcover–outhavegonethegaypride
bannersandininsteadhascomeBigBen.Thisalterationsuggeststhatitsmainstreamreception
requiresPridetobeseenasapoliticalprotestfilm,ratherthantheindignantcondemnationof
homophobiaitreallyis.)
Nodoubt2015willbringussomefilmsasmovingandasinspiringasthese,whilewetakestockand
remembertheangerandcontemptthatignited25yearsago.NQCwasapioneeringand
transgressivechallengethatusedfilmtoshowthatqueerlivesaremeaningful,uniqueandindeed
necessaryforthemovingimage.
MyOwnPrivateIdahoisapersonalstatementandaRiverPhoenixmemorial
ByScottTobiasfortheAVClubMar21,2013
http://www.avclub.com/article/imy-own-private-idaho-iis-a-personal-statement-and-94005
“There’snotanotherroadanywherethatlookslikethisroad—Imean,exactlylikethisroad.It’sone
kindofplace.Oneofakind,likesomeone’sface.Likeafucked-upface.”—RiverPhoenix,MyOwn
PrivateIdaho
It’sbeen20yearssinceRiverPhoenix’sdeath,andGusVanSant’s1991roadmovieMyOwnPrivate
Idahoisstillalmostunbearablysadtowatch.Itisn’tjustthatPhoenix’scharismaandpromiseareon
fulldisplay,thoughIdahoranksalongsideRunningOnEmptyandDogfightamonghisbestroles.It’s
thewayVanSant’sscriptleavesPhoenixinastateofconstantvulnerability,likeaturtlewithoutits
shell.Attimes,hischaracter’snarcolepsy—inwhichhesuddenly,unpredictablyfallsintoadeep
sleep—feelslikeanarrativecontrivance,anongoingdeusexmachinacalibratedtopivotthestoryin
whateverdirectionVanSantdecidestotakeit.Butit’sreallymoreametaphorforalonely,loveless
drifterwhohasnodefenseagainstaworldthatcantakehismoney,hisheart,andhislife.Phoenix
andhischaracteraren’toneandthesame,buttheyshareanopennessandsensitivitythat’skeenly
feltinMyOwnPrivateIdaho.They’repreyforarapaciousworld.
Thoughnotpartofanofficialtrilogy,MyOwnPrivateIdahowasthelastofathree-filmopeningrun
forVanSantbeforeheappliedhistalenttoadaptationslikeEvenCowgirlsGetTheBluesandToDie
For,anddirector-for-hireprojectslikeGoodWillHunting.Thesefilmsaren’texactlyimpersonal,but
theyfoundVanSantdriftingawayfromthepersonalcoreofMalaNoche,DrugstoreCowboy,and
Idaho,allofwhicharesetinhisnativePortlandandthePacificNorthwest,andallofwhichdealwith
illicitloveandself-destructiveimpulses,whetherit’sthepursuitofdoomedromanceorthegrim
chasmofdrugaddictionandill-advisedsex.VanSant’searlyartistryfloweredadecadelaterwithhis
“Deathtrilogy”—2002’sGerry,2003’sElephant,and2003’sLastDays—andhereturnedagainto
similarterrainwith2007’sParanoidPark,aportrait(inpart,anyway)ofPortlandskatekidslivingon
society’sfringes.Butbythen,hisarthadgrownmoreconceptual,withamarkeddistancefromthe
rawnervesofhisearlywork.
Inaway,thebattlebetweentheconceptualandthepersonalplaysoutbetweenthetwoPortland
hustlersatthecenterofMyOwnPrivateIdaho.PhoenixstarsasMikeWaters,firstseenpassingout
onanemptystretchofhighwayinIdaho,wherehedreamsinold-home-movieformataboutresting
inhismother’sarms.Whethersuchasceneeverplayedoutinhispastisdubious,buthischildlike
desireforcomfort,fromhismotherorfromsomeonewholoveshim,motivatesnearlyeveryaction
hetakesinthefilm.BackinPortland,Mikejoinsacollectiveofhomelessgayhustlerswhoconvene
inpublicparksandpoorlylightedspots,andoccasionallybunkundertarpsonbuildingrooftopsor
gatherinthelobbyofacondemnedhotel.Theyallhaveharrowingstoriestotell:
TheobjectofMike’saffectionisScottFavor,therebelliousscionofanelitePortlandfamily,who’s
takentohustlingmainlyasawaytoembarrasshisfather.MikeandScottarebestfriends,butScott
standsapartfromthegroupbecausehe’smerelydabblinginalifestylehecanabandonthemoment
theoldmankicksitandhecancollecttheinheritance.AsScottthwartshisrealfather—shadesof
Shakespeare’sHenryIV,whichVanSantincorporatesboldlyintotheproceedings—heseeks
guidanceofsortsfromBobPigeon(WilliamRichert),ahaggardmiddle-agedschemerwhose
authorityScotteventuallyseekstoundermine,too.ScottaccompaniesMiketoIdaho(andlater,
Italy)tosearchforMike’slong-lostmother,butanyintimacyisthwartedbyScott’srepeated
declarationthatheonlyhassexwithmenwhenthere’smoneyinvolved.
MyOwnPrivateIdahorepresentstheshotgunmarriageoftwoindividualstoriesthat,likeMikeand
Scottthemselves,don’treallybelongtogether:aroadmovieaboutMike’sfruitlesssearchforlove
andsecurity,andanarchmodernretellingofShakespeare,withScottplayingaroledistinctly
abstractedfromthegrittyday-to-dayofhistemporarystreet-hustlingbrethren.It’scommontohear
peopletalkaboutMyOwnPrivateIdahoastwomoviesinone—conversationsthatusuallyendwith
apreferenceforMike’sheartrendingtaleofunrequitedlovewinningoutoverKeanuReevesdoing
Shakespeare.Buttheimpulsetotreatthefilmlikecompetinganthologyhoursmisseshowgracefully
VanSantincorporatesthetwostorieswhilemakingapointofhowdistanttheyarefromeachother.
Evenwhentheyoccupythesamespace,likethecampgroundthecharactersimproviseinanIdaho
field,they’reworldsapart,andnoamountofyearningonMike’spartcanbridgethegap.
ThoughVanSantwasabrilliantstylistfromthestart—MalaNoche,shotforpeanutson16mm,hasa
grainyblack-and-whitetexturethatgivesitsromanticodysseyadreamlikequality—theroad-movie
loosenessofMyOwnPrivateIdahogavehimanopportunitytoexpresshimselflikeneverbefore.
ThestressthattriggersMike’snarcolepsy—thewayhetensesupandhiseyesflutterevokesa
machineoverloadingandshuttingdown—alsogetschanneledintogorgeoustime-lapseshotsof
naturegatheringitsforces,ordreamsofhismothercollapsingintoavisionofhomedroppingfrom
thesky.(Thatpieceofsymbolismwouldbetooon-the-noseifitweren’tsobewitching.)Thereare
wonderfulvignettesandinterludessqueezedcomfortablyintothenarrative,too,likeahare-brained
schemetoknockoffabandofindie-musicpromoterswhilepretendingtobeapink-robedcult,or
strangeencounterswithtricks,likeonewhowantsMiketoscrubhisalready-immaculatehouseina
Dutch-boygetup,orawealthydowager(GraceZabriskie)whorequirestheservicesofthreehustlers
to“getwarmedup.”Andwheneverthefilmthreatenstogettoodreamy,VanSantpullsitbackto
earthwithreal-soundingstoriesofjobsgonebadandyoungliveslivedontheprecipice.
ThoughIdahoishalf-builtaroundthearchconceitofahustleractingoutShakespeare—acharacter
whogrowslesshumanashe’sdrawnbackintoPortland’shighsociety—itchallengesMalaNocheas
themostpersonalfilmofVanSant’scareer,andwithgreaterartisticinvestment.VanSant’sclose
identificationwithtroubledoutsiders,hisfeelbothforliteratureandthepoetryofthestreets,the
wayheusesshotsoflonelyhighways,condemnedbuildings,landscapes,andnaturalphenomenato
suggesttheinternallivesofhischaracters—allofthesegiftsareonfulldisplayinMyOwnPrivate
Idaho,yetitneverseemslikearandomrepositoryforpeculiarthoughtsandvisuals,likeEven
CowgirlsGetTheBlues.Andforthat,wecanloopbacktocreditPhoenixagain:Hispresencecan
makeeverysceneseemauthenticandtrue,andthefilmnowfeelslikeasweet,hazy,heartsick
memoryofhim.
MyOwnPrivateNewQueerCinemaby
http://sensesofcinema.com/2005/feature-articles/new_queer_cinema/
Inthisessay,Iwillarguethatthefilmsof“NewQueerCinema”weregenerallymisread.Iwillread
twofilmsfromtheperiod,MyOwnPrivateIdaho(GusVanSant,1991)andTheLivingEnd(Gregg
Araki,1992),notasdefiantandcoherentqueerresponsesagainstthevisceralandculturaltraumas
oftheAIDScrisis,butaspassivepiecesofshrapnelfromtheepidemic,HIV-positivecinema.
Thefirstsectionofthisessaywillmapthe“stateofplay”intheearly1990s,outliningthe
atmosphereofAIDS-besetAmericangaycommunitiesandthesimultaneousemergenceand
identificationof“NewQueerCinema”.Aftersummarisingthecontent,styleandreceptionofMy
OwnPrivateIdahoandTheLivingEnd,IwilllookatthewaysbothfilmsdisplaysomeofthenonmedicalsymptomsofAIDS:thewaytheycollapseintothetemporalandconceptualschizophreniaof
theepidemictheysoughttotranscend,andthesignificanceandmeaningoftheroadmoviegenreas
containerforbothfilms.
HIV/AIDS1990–1992
“TheAIDSepidemiccamealongandrippedopenreality,irreparably,irretrievably.”
–DavidB.Feinberg,QueerandLoathing
Onaverage,sincethebeginningoftheAIDSepidemictothepresentday,aroundhalfofallAIDS
casesandAIDSdeathsintheUnitedStateshavebeengaymen.Oftheapproximatelyhalfamillion
peoplewhohaddiedofAIDSintheUnitedStatesto2002,aroundtwo-thirds,orabout330,000,died
inthetenyears1986–1995.100,000diedbetween1990–1992.Wecanestimate,then,thataround
50,000gayAmericanmen,mostofthemconcentratedintheurbangaycentresoflargecitieslike
NewYork,SanFranciscoandLosAngeles,diedinthisshortperiod.Theearly1990swereyearsof
AIDS-decimationforAmericangaycommunities,anatmosphereperhapsbestevokedbyAndrew
Sullivanwhowrotein1990thatdeaths-from-AIDSinAmericangaycommunitieswere“ubiquitous”
andthatsuchfamiliaritywithdeathanddyingwas“uniqueinmoderntimes”.
Sullivandescribesacommunityalienatedfromthemoderncivilisationthatsurroundeditby
medievalexperiencesofplague:thevisceraldecayofthedying,andtheenormousamountsof
“dead[acquaintancesandlovedones,who]cluttertheaddressbooksofthedyingasbonesonce
festoonedthecharnelhousesofmedievalcity-dwellers”(1).
Generally,creativeresponsestothispeakperiodoftheAIDSCrisisleanttowardsthespectral,the
alchemic,themystical.PlaywrightTonyKushnerinterpretedtheperiodwithhistwo-partGothic
supernaturalplay“AngelsInAmerica”whichwasfirstperformedin1993andwhichfeatureddilated
temporalandspectralmembranesrepletewithwingedangelsshatteringceilingsintheirdescent
towardsgaymendyingofAIDS,whowereconsidered,bytheangels,tobeprophets,andghosts
fromrandompreviousdecadeswhocommunicatedwiththecontemporaryliving.ACT-UPactivist
andwriterMichelangeloSignorilewrotethat“theentiretwo-yearperiodbeginningin1990seemed
likeanAcademyAwardsproduction”(2),whileactivistandwriterDavidB.Feinberg,whodiedof
AIDSin1994,openedhismemoirswiththeobservationthat“theAIDSepidemiccamealongand
rippedopenreality,irreparably,irretrievably”(3).
NewQueerCinema1990–1992
“It’slikeI’vefallenthroughtheLookingGlass!”
–Jon,TheLivingEnd
Inherwell-knownSightandSoundessayfrom1992,B.RubyRichdescribedthatyearasa
“watershed”yearforindependentgayandlesbianfilmmakingandthestartofatransformative
periodofqueerfilmspectatorship.Thesuccessofmanygay-themedfilmsatprestigiousfilm
festivalsandthemomentumgeneratedbytheirconcurrentreleasesencouragedRichtocointhe
term“NewQueerCinema”,describingamovementwhichshehopedwouldcreateatransformative
“newqueerhistoriography”thatevenhadthepotentialtodefine’90scinema(4).
“NewQueerCinema”waswidelyunderstoodaspartofaHIV/AIDS“silverlining”–anaccelerated
culturalandpoliticalevolutionofgayidentitybroughtonbythechallengesandexposuresofthe
AIDSCrisiswhichwoulddeliver,afteryearsofcivilrightsstrugglesandthetraumasofHIV/AIDS,a
peacefulandproductivegayfuture.Inthefilmsandphenomenonof“NewQueerCinema”Rich
observed“anewkindoffilmandvideopractice,onewhichtakesuptheaestheticstrategiesthat
directorshavealreadylearnedandappliesthemtoagreaterneedthanartforitsownsake”which,
accordingtoher,usedpasticheastemporalsleight-of-handtobothpaytributetocreative
influencesandstateaboldandsubversivepoliticalstance.
TheLivingEndissetresolutelyinthepresent.Orisit?Cinematically,itrestagesthecelluloidofthe
60sand70s:earlyGodard,BonnieandClyde,Badlands,ButchCassidyandtheSundanceKid.The
queerpresentnegotiateswiththepast,knowingfullwellthatthefutureisatstake.
Rich’sfellowSightandSoundcontributorAmyTaubinagreed:
“TheLivingEndtreatsthequeer-as-criminalthemefromacontemporaryperspective.…
Encouragedbytwenty-fiveyearsofgayactivismmadeurgentbytheAids[sic]crisisanda
right-winghomophobicbacklash,queerfilm-makershavefoughtbackthroughproductionof
images(5).”
“NewQueerCinema”,however,burnedrelativelybrightlybutfizzledoutrelativelyquickly.Key
filmmakersof“NewQueerCinema”,suchasTomKalin(Swoon,1992)andJennieLivingston(Parisis
Burning,1990)didn’tproducesubstantialfollow-upfilms,whiletheincreasedcommercialviabilityof
gay-themedfilmsandgayandlesbianfilmfestivalsdrainedasenseofthespecialfromgay-themed
independentfilmcultureduringtheremainderofthe1990s.InaninterviewinMay2004,B.Ruby
Richdeclared“NewQueerCinema”well-and-truly“over”,withgay-themedcinemaexperiences
devolvingfromtheexciting“meetingofpoliticalengagementandaestheticinvention”oftheearly
’90sintoabland“nichemarket”,asubsetofthecommerciallypowerful“QueerEye”era(6).
“Ireallywanttokissyou,man”:MyOwnPrivateIdaho(1991)
Madefortwoandahalfmilliondollars(7),MyOwnPrivateIdahomadearoundsevenmilliondollars
attheU.S.boxoffice,andwonseveralawardsatfilmfestivalsaroundtheworld,mainlyfor
Phoenix’sperformance,andVanSant’sscreenplay.Ithasremainedarelativelywell-knownfilm,
probablyduetothesubsequentcareersuccessesofVanSantandReeves,andtheenduringpopmythologyofRiverPhoenix,whodiedofadrugoverdosein1993.
InMyOwnPrivateIdaho,Mike(RiverPhoenix),sensitiveandnarcoleptic,andScott(KeanuReeves),
thebrasheldestsonofawealthyfamily,workasgaystreethustlersinthePacificNorthwest.Mike
hustlestosurviveandtoescapetheno-hopehellofhisMidwesternhome,aplacewherehis
cherishedmotherisnolongerfound,andwhere,welearn,hisfatherisalsohisbrother.Aspartof
thefilm’srepackagingofShakespeare’sHenryIV,Scotthustlestospitetheexpectationsand
reputationofhisrichandpowerfulfather,slummingituntilhisdaddropsdeadandhisinheritance
comesdue.Aftervariousadventures,MikeandScottsetout,invain,onasearchforMike’smother,
ajourneythattakesthemtoIdaho,thentoItaly.Alongtheway,Mike’semotionalattachmentto
Scottdevelops,butisrewardedonlywithfriendship.Mikepassesoutregularlyandisusuallycarried
tosafetyandprotectedbyScott.
Thefilmislaboriouslystylised.ShakespearianrhymingcoupletsinterminglewithgrungyPacific
Northwesthustlerjive,andscenesfeaturingmedievalstylegangsofthievesgatheringunderbridges
toplottheirnextattackarejuxtaposedwithcinémavéritévignettesof(apparentlyreal)gay
prostituteschattinginSeattlecafesabouttheirexploitswithtricks.Sexscenesarefilmedinquasi
stop-motion,inthestyleofpornmagazinephotostories;inotherscenescovermodelsofsuch
magazineslaidoutonanewsstandcometolifeandspeakdirectlytothecamera.Visualmetaphors,
suchassalmontryingtoswimupstream,andoldwoodenhousesthatcrashoutoftheskyinto
splintersoccurthroughoutthefilm.
MyOwnPrivateIdahoreceivedgenerallypositivereviewsinthegaymedia,typifiedby
Planetout.com’sPopcornQ,whichcalledMyOwnPrivateIdahoa“deliriouslyunhingedstory”that
contains“oneofthemostbeautifullynuanceddepictionsofnakeddesireevercapturedonfilm”and
whichispartof“acinemathatresonateswithmorethanjustthefacilepalliativeofhappily-everafter”(8).
“WelcometoTheClub,partner”:TheLivingEnd(1992)
TheLivingEndwasmadeforjustover20,000dollars.Itwasnominatedforthe1992GrandJuryPrize
attheSundanceFilmFestival,andgrossedaround600,000dollarsattheU.S.boxoffice.GreggAraki
isoneoftheonlysignificant“NewQueerCinema”directorswhocontinuedmakingfilmsinthisstyle
throughoutthe1990s(TheDoomGeneration,1995,Nowhere1997).NeitherofTheLivingEnd‘slead
actorshaveenjoyedprolificactingcareers.
Jon(CraigGilmore)isanintrovertedandfrustratedmoviewriterwhofindsoutheisHIV-positive.
Numbfromthediagnosis,hedrivesaroundthestreets,whereheencountersLuke(MikeDytri),an
extroverted,sexyhustlerwhopacksagunandrarelywearsashirt.Ontherunfromgaybashersand
thepolice(Lukehasshotthreeattackersandacopdead),JonandLukesetoutonanihilisticroad
triptonowhererobbingbanksandstealingcarsandexploringennui,freedom,gaysexandromance
intheageofAIDS,allundertheirmotto:“FucktheWorld!”
AswithIdaho,pasticheandgenrearedeliberatelyoverstated,andthefilm’smilieuishighly
contrived.Joniswritinganarticleonthe“DeathofCinema”andmoviepostersormovieT-shirtsare
visibleineveryotherscene.Again,metaphorsabound,likecockedandloadedgunsjammedintothe
mouthsofHIV-positivegaymenatthepointoforgasmandstealthyroadsidesnakesterrorising
penis-hatinglesbians.
TheLivingEndwasalsowarmlyreviewedinthegaypress,withthe“SydneyStarObserver”,
Australia’smaingaynewspaper,callingTheLivingEnd“aviciouspunchinthegutsthatleavesyou
uncomfortablywindedandunforgettablymoved”(9).
PrivateSalveCinema
“What’sthebettheyhaveamagiccurebytomorrow?”
–Luke,TheLivingEnd
MyOwnPrivateIdahoandTheLivingEndareveryprivatefilms.Conspicuouslyaddressedtoa
particularaudienceandcommerciallylimitedbybothbudgetandaestheticstheyarenotfilmsopen
toeveryone,entriesintouniversalpopularculturethatcouldpotentiallyplaytorandomspectators.
Theyarespecial,personalfilmsthatrelyonaudienceidentificationformuchoftheirimpact.Though
itisimpossibletodemonstrateagay-male-heavydemographicbreakdownoftheaudiencesof
thesetwofilms,andthoughthestarpowerofPhoenixandReeveshasnodoubtdrawnmanynongaymaleviewerstoMyOwnPrivateIdaho,theassumptionthatthetwofilmsenjoyeda
proportionatelylargeamountofinterestedgaymaleviewersontheirinitialreleaseis,Ibelieve,a
reasonableone(10).
AsJaneFeuerhasnoted(regardingthetelevisionseriesDynasty)forgaymaleurbansubculturethe
filmsandphenomenonof“NewQueerCinema”functionedmoreasritualratherthanastexts:they
wereenactedratherthanconsumed(11).MyOwnPrivateIdahowasseenwidelyasaplaintive,
effectivegaycelluloidemissary,withtop-sellingAmericangaymagazineTheAdvocate‘sfilm
reviewerDavidEhrensteinpraisingIdahoonthegroundsthat“VanSantestablishesforqueer
moviegoersabeachheadintheirongoingstruggleforcinematicrepresentation”(12).ACT-UP
protesterschampionedthefilminmuchthesameway,waving“GusVanSantisagenius”placards
outsidethe1992AcademyAwardsceremonywherethefilmhadfailedtoreceiveanyOscar
nominations(theprotestedceremonywasinturndescribedbyMichelangeloSignorileasbeing“just
likeamovie,eerilyreminiscentofTheDayoftheLocust”).KatieMills,inheressay“Revitalizingthe
RoadGenre:TheLivingEndasanAIDSroadfilm”writesthatTheLivingEndrevealeda“newstrategy
forconstructingarebelviewingposition”andwasa“performativespaceforimaginativerevisionsof
identityandsociety”(13).
AsJohnChampagnehasargued,culturallymarginalisedgroups–suchasgaymen–cannotdefine
andconceptualisethemselvesoutsidetheimposedframeworksthatcontainthem.Iagreewith
Champagne,thoughIwouldaddthatoncethesedefinitionsandconceptions“getgoing”,theygrow
aholdingcellaroundthemselves.Assuch,Ireadthesetwofilmsnotas“imaginativerevisions”and
“beachheads”inasomehowmoreappropriategaymalecinematicrepresentation,but,rather,as
conservativeandobedientobjectsthatutiliseawideselectionofgaymalestereotypesminedfrom
theiconographyofseveralpreviousdecades.
Idaho‘sMikeisaone-mangayHallofFame.He’saRechy/Genethustleroutlaw,acigarette
constantlyinmouth,livingoncolaandamphetamines.He’sevendressedasaDutchsailoratone
point,repletewithQuerelle’spom-pomhat.He’salsoatemplate-cutofmoderndayCaliforniangay,
whocherisheshismotherbutisambivalentabouthisfather,goeswesttogogay,butkeepsan
elasticumbilicalcordtohisMidwesternhomewhichheoccasionallyvisitsbutcannolongerrelate
to.
Asensitiveguywhokeepsgettingknockeddownbylife,andwho’sdressedincowboybootswith
straw-blondehairfallinginhisface,he’sthemeetingplaceofeverypieceofgayiconographyfrom
TennesseeWilliamsandJamesDeantoPierreetGillesandCalvinKleinandbackagain.Likemanyof
theseicons,hissexualitydrawsfreelyfrombothgenders.Thoughmasculinisedthroughhisselfreliance,virilityanddick-orientedprofession,Mikeisalsofeminised,carriedaroundinScott’sarms,
travellingasapassengeronthebackofScott’sbike,andobedientandpassivetoScott’sinitiations.
Atonepoint,MiketellsScott’sItaliangirlfriendthathe“knowshowshefeels”.
TheLivingEnd‘sJonandLukelivethecowboy/outlawdreamalso,burningaroundinastolencarand
robbingbankstokeeptheadventuregoing.GravelledLAindustrialsitesandvastbutempty
shoppingmallcarparksstandinfortumbleweeddesertscapes.LikeMike,Lukeconstantlyhasa
cigarettebetweenhislips,thoughheneverlightsit,admittinghedoesn’tevensmoke.Thepairpack
anintimidatinglylargegunandbothseemtoknowthelanguageofboththenightandthestreet.
They’resplithalvesofabifurcatedcentralcharacter,withJon’sinteriorityandtentativesexuality
complementedbyLuke’sextroversionandbuff,brassysexiness.
Punkandthesexualrevolution,movementsthatnurturedearlygayliberation,informmuchofThe
LivingEnd.Thelegalstrifeandsocialhostilityofgaylifeofthe1970sandearly1980sisechoedby
thepair’sfrequentrun-inswiththecops,gaybashers,andintolerantheterosexualswhojustthink
theguysareweird.Thefactthattheyareprettymuchtheonlygaymalecharactersinthefilmcodes
theirsame-sexloveaffairasadefiant,pioneeringact–anactofsexualrevolution.AswithIdaho‘s
Mike,however,thecontemporarymilieuoftheirfilmandtheconspicuousyouthoftheactors
ensuresthattheyaresimultaneouslycodedasup-to-the-minutemoderngayguys,peersofthegay
menintheaudience.
Tellingly,though,amissingelementintheotherwisehistoricallycomprehensivebricolageofMike,
LukeandJon’sidentitiesisthegayfaceoftheAIDSCrisis.Thisfaceispresentinbothfilms,butonly
inshadowyform,andthosewhowearitaremadeconspicuouslydistinctfromthecentral
characters.
InMyOwnPrivateIdaho,gaymenfromthe“AIDSGeneration”areframedasmouldy,decaying
“others”whobehavewithcartoonishdecadenceandappeartohavesteppedoutofeithera
museumoranasylum.Tellingly,suchfiguresareforeigners–blow-insfromsomestrangefaraway
place.Mike’stricksareinvariablydecadentmiddle-agedEuropeanmen,lonelyandsolitarycreatures
whodressandactfloridlyandwhohavebizarre,sometimesnon-carnalsexualeccentricities.Oneof
Mike’strickscaresseshimselfgrotesquelywithgnarled,bejewelledhandswhileasemi-nudeMike
scrubsthekitchensinkclean,whileanotherdancesakindofaballetwithalampshade.Allseemto
inhabitrundownhotelrooms,wheretheylurkamongpeelingpaintandthepastyyellowglowof
barebulbs.
InTheLivingEndoldergaymendon’texistatall.They’renotevenreferredtoindialogue,imageor
theme.Gaymenofthe“AIDSgeneration”areavoidedlike,well,theplague.
Meanwhile,thecentralgaycharactersinIdahoandTheLivingEndarehandsome,vital,andinvisibly
perfecthealth,evenHIV-positiveJonandLuke.JonandLuke’sHIV-positivestatusisperfunctory:a
startingpointthatactuallyfreesthemsexuallyandmosteveryotherway.AsPaulBurston
commented,“thiscoupleofanti-heroes’antibodystatusisof[no]greaterconsequencethanthefact
thattheywearstressedleatherjackets”(14).TheirHIV-positivestatusiswhattimestampsthefilm,
andgivesitagreasedshortcuttosocio-politicalsignificance.Neithercharacterbecomes
symptomaticorevenappearstofearthishappeninginthefuture,andthefilmfamouslyfinishes
withbothcharactersstillhealthyandalive,avoidingthehospital-gurneymelodramaofotherearly1990s“AIDSfilms”suchasLongtimeCompanion(NormanRené,1990)whichArakisaidhewanted
tocounter.HIVultimatelyhasjustacameoappearanceinTheLivingEnd,triggeringanewlifeof
irresponsibleadventureforJonandLuke(“wegottagrablifebytheballsandgoforit”saysLuke)
whichthenbecomesthemaindriveofthefilm.
MyOwnPrivateIdaholeavesHIVcompletelyoutofthepicture,anespeciallyunrealisticomissionin
afilmaboutgayhustlerslivingand(sex-)workinginurbanAmericaintheearly1990s.Yet
narcolepticMike’safflictionseemsconvenient,expedient.Hiswell-beingismadeconspicuously
tenuousashekeepsconvulsingandcollapsing,buthealwaysgetsbackupagain,fullofbeansand
readytostartover.Mike’snarcolepsycanbereadasefficientstrategicsymbolism,romantically
codingMikeasacorn-beltSaintSebastianwithouthavingtoreckonwiththecomplexand
threateningactualitiesofHIVinfection.AsAmyTaubinnoted,“Mikeisliterallythemostunconscious
characterevertohitthescreen…Mike’sabsenceofconsciousnessiswhatsaveshissoul”(15).
Inthisway,gayidentitiesinthetwofilmsmirrortheiranxieties,confusionsandcrossedlinesof
comprehensionregardingHIV/AIDS.HIV/AIDS,atthetime,almostinvariablyresultedincertain
death,butwasalsotheobjectwhichgayidentitygatheredaround.Therewasasimultaneousneed
forstirringandsubversiveHIV/AIDSpoliticalactivism,aswellascomfortandnormalisationinthe
faceofamortalthreat.
Inbothfilms,symbolicafflictionwhichgivescomplexityandsympathytocharacterwithoutcausing
anyrealphysicalharmisusedtoconstructagayidentitythatispsychicallycomplexasaresultof
illnessandcircumstance,butnotunderanyseriousphysicalthreat.WhenMikekeepscollapsing
thengettingupagaintopursuehisromanticloveforScottwemayseealittlebitofafableherethat
gaymendroppinglifelessly–asadlycommonoccurrenceatthetime–wasn’ttheendofgayness,
butrather,somethingthatcouldbeovercome,willedoutofexistencebythepoweroflove,
friendshipandacarorairplanetickets.InTheLivingEnd,magicallybenignHIVinfectionisthekeyto
awhite-knucklelifeofpassionanddirection.Inthislight,howdoweviewthesetwofilmsaspolemic
gut-punchesandresonantgayromancesthatforged,apparently,newandbravepathsofpost-AIDS
gaycinemarepresentation?Inmyopinion,theyareprimeexamplesofpreciselytheopposite:
expressionsoftentative,ambiguouspracticesofpost-AIDSgaymalespectatorship,contrivedand
protectedpracticesthatsimultaneouslyacknowledgeanddenyHIV/AIDSwhichwemighttermsafescopophilia.
DrivinginReverse
“I’maconnoisseurofroads.”
–Mike,MyOwnPrivateIdaho
Therelentlessdeploymentoftheroadmoviegenreinbothfilmsseemsfarfromincidental.MyOwn
PrivateIdahoandTheLivingEndareovertroadmovies.Theroadisacentral,fleshed-outcharacter
inbothfilms.InIdaho,aparticularroadthatMikesayshe“knows”bookendsthefilmandis
returnedtoinanumberofscenes.AtonepointMikeascribesafacetoit,andlaterponderswhether
ithasanend,orwhetheritrunsallthewayaroundtheworld.
GreggArakidescribedTheLivingEndasbeing“mostlysetontheroad.It’slikeaHope/Crosbymovie
…inwhichCrosbyfucksHope”(16).Bothfilmswerepraisedfortheirunconventionaltreatmentof
narrativeandgenre,specifically,theroadmovieformat.Itwasargued,mainly,thatthe“queering”
oftheroadmoviegenrebythesefilmswassomethingexcitinglytransgressiveandsubversive,even
transcendent.InB.RubyRich’swords:
“Therearetracesin[“NewQueerCinema”films]ofappropriationandpastiche,irony,as
wellasareworkingofhistorywithsocialconstructionismverymuchinmind.Definitively
breakingwitholderhumanistapproaches…theseworksareirreverent,energetic,
alternativelyminimalistandexcessive.Aboveall,they’refullofpleasure.They’rehere,
they’requeer,gethiptothem(17).
And,accordingtoKatieMills,TheLivingEnd“breaksthelawsofstoriesaboutoutlaws[and]rebels
againsttheroadmoviegenreitselfinitsaimtorevitalizethepowerofcinematicstory-tellinginan
AIDSera”(18).
This(mis)useandsubversionoftheroadmoviegenrewasseenasaspitinthefaceofHollywood
codes,whichhadlongbristledgaymoviegoingculturewithitsapparentmisrepresentationsofgay
identitythroughsuicidal,murderousorinsomeotherwayunstableandnegativegaycharacters.
“NewQueerCinema”waspartlyreadasthemanifestationofthisdistrustofrepresentationandan
actofcreativeandsocio-politicaldefiance.Theliberationof“goingWest”andthefreedomof
movementoftheroadwerekeyaestheticelementsofmuchof“NewQueerCinema”andtheearly
’90sstarburstofexcitingnewgayidentitiesthat“NewQueerCinema”waspartof.
WhatIwouldargue,though,isthatmovementin“NewQueerCinema”wasbackwardsmovement,a
conservativetripintothepastratherthanatransgressivemovementaheadthroughabricolageof
newcodesandmeanings.Ireadthisbackwardsmovementasacollapsebackintosafefamiliarity,
thetakingofshelterinacomfortzone.Proximaldefenceisapsychologicaltermdescribingthe
“curlinguplikeanarmadillo”responsetoextremestress,terrorandjeopardy.Inproximaldefence,
theproblemobjectorincidentisdealtwithbydoingwhatevercanberationallyexpectedto
minimisevulnerability(19).Myreadingofthesetwofilmsobservesproximaldefenceinresponseto
theAIDSCrisisoperatingwithinthefilms,andalsoamongcriticsandaudiences.
ThemanicallymobilecharactersofMyOwnPrivateIdahoandTheLivingEndareinsearchof
domesticityandclosure,notadventureandaperture,thegoalsofThelma,Louise,Thunderbolt,
Lightfootandsoon.SensingfailureandfeelingdespondentattheendofMyOwnPrivateIdaho,
Mikelamentsthat“thisroadwillneverend.Itprobablygoesallaroundtheworld”.Thecharacters
ofthesefilmsonlymovewhentheirsafehavenbecomesunstable,andtheyfleeinsearchof
comfortandacceptance–continualmovementisneithertheirgoalnortheirpassion.Mikeisin
searchofhismother;LukeandJonareinsearchofanalternativetoaHIV-warpedsuburbanlife.
Theyaren’tdriftersasmuchasthey’reaspirants,andtheyaren’treallyhustlersasmuchasthey’re
hopelessqueerromanticsembeddedwithanairoftragedyfrombeingbelowthepovertyline.At
leastinthetwofilmsbeingdiscussedhere,“NewQueerCinema”was,amongotherthings,acinema
ofromanticlongingdisguisedbyacoolveneerofswaggeringandsomebulletlessGen-Xshoot-emup.
TheroadtripsofMyOwnPrivateIdahoandTheLivingEndaren’tadventuresthatgoawry,asinthe
traditionalnarrativeofroadmovies,butare,rather,embeddedwithgloomfromtheoutset.Mike,
theoffspringofincest,bumpsfromplacetoplaceinhisworkasahustler,beforeheandScott
randomlylegitimisetheirroamingwithasearchforMike’smother.JonandLuke’stravelsarethe
manifestationoftheiranarchistic,aimlessnihilism,driftingaboutinsearchofnothinginparticular,
theirgreatestproblem–HIVinfection–alreadypresentbeforethecar’skeysareturnedinthe
ignition.Neitherfilmcontainsparticularlysignificantplotpointswhichthwartorgenerateaction
withinthenarrativeorwhichfacilitatecharacterdevelopmentorchange.Ostensiblymoviesabout
journeys,they’reactuallyfilmsaboutennuiandpermanence,withcharactersthataresuperficially
expansiveandmobile,butwhoareactuallyold-fashionedconservatives,gluedintoplace.
DuringtheAIDSCrisis,gayidentitiessufferedfromasurfeitofcaptivity.Thoughamajorityofgay
menwereuninfected,tensofthousandsofgaymenhaddied,weredyingorwereincapacitated
withillness.Additionally,thepsychicandsocio-politicalimpactoftheAIDSCrisisonmostgaymen
wasforceful.Previouslyseenastempestuousfreespiritsorradicalfringedwellers,gaymenwere,in
theearly’90s,hostage–physically,psychicallyandbiologically–toamostconstrictingandmorbid
captor.TheAIDSCrisispushedhomosexualityintoaspacethatofferedlittlefreedomofmovement.
Whilethemainstreammediaandsomesectionsofthe“generalpublic”weldedthedistinctions
between“gay”and“AIDS”intooneconflatedideaofdoom,gaycultureitselfmouldedtoanew
shapearoundtheepidemic,withAIDS-orientedorganisationslikeACT-UPandQueerNation
providingapoliticallyactiveandself-awareinfrastructureforgayculturethatstillexiststoday.
Inthiscontext,wecanre-readRich’slistofobservationsaboutthefilmsof“NewQueerCinema”,
thattheywere“irreverent,energetic,alternativelyminimalistandexcessive[and]aboveall…fullof
pleasure”andseealistofalltheadjectivesthatcouldn’tbeappliedtothegayexperienceofthe
AIDSCrisisyears.Whatcouldbemoreantitheticaltotheheavyatmosphereofearly1990sgay
AmericathanthepioneeringspiritoftheoutlawWest,aspiritcelebratedbytheroadmovie,and
appropriatedbytheactuallynon-roadmoviefilmsof“NewQueerCinema”?MyOwnPrivateIdaho
andTheLivingEndusedthestockelementsoftheroadmoviegenreprimarilyassymbolic
shorthand,theyarecheer-upgiftsbroughttothebedsofthesick.
PopulargaymalecinephiliaisfamouslynostalgicandreverentofoldHollywoodtradition.The
WizardofOz(VictorFleming,1939)andtheoeuvresofMGMdivasaretimelessgaymalefavourites,
whilecomparativelymoderngenreslikesciencefiction,slasherfilmsandsoondon’thaveanyreal
footholdintraditionalgaymalefilmculture.Filmidentities–whetherthecharactersconcernedbe
identifiablygayornot–thatareusefulforgayculturetendtolookandactinpre-1980sways.
Cowboy,outlawandhustlericonographyaremeaningful,ifguilty,gayculturalpleasureswhichgot
shortshriftduringtheAIDSCrisisbecauseoftheircomparativefrivolityandairofpromiscuous
decadence.Thesadyoung(subliminallyhomosexual)man,personifiedonscreenandoffbyJames
Dean,wasasafeandcelebratedgayiconbeforetheAIDSCrisismadesuchdreamy,self-destructive
passivityillness-likeandunfashionable.Chipsoftheseiconswerepickedupbygayfilmmakersand
gayfilmgoersintheearly’90sandcombinedwithfuture-projectedwishesofpoweroverHIV/AIDS
tocreateafantasticalsuper-iconographythatwassimultaneouslynostalgicandenterprisingand
whichsuggestedthatpre-AIDSgaymemoriescouldleapfrogtheperiodofAIDSintoacontiguous
future.
Thisarticlewasrefereed.
Endnotes
1. AndrewSullivan,“GayLife,GayDeath”,TheNewRepublic,December1990.
2. MichelangeloSignorile,QueerinAmerica:Sex,theMediaandtheClosetsofPower,Abacus
Books,London,1993.
3. DavidB.Feinberg,QueerandLoathing:RantsandRavesofaRagingAIDSClone,Penguin
Books,NewYork,1994.
4. B.RubyRich,“NewQueerCinema”,SightandSound,Vol.2,Issue5,September1992.
5. AmyTaubin,“ObjectsofDesire”,SightandSound,Vol.1,Issue9,January1992.
6. JennieRose,“TheLastRefugeofDemocracy:ATalkwithB.RubyRich”,Greencine.com,May
72004.
7. USdollars,asintherestofthisessayexceptwherespecified(seeendnote10).
8. ElizabethPincus,planetout.comPopcornQMovies.
9. TonyMagnusson,“UnstableBoyfriendsandTroubledMen”,SydneyStarObserver,Friday
April2,1993.
10. IrememberattendingaSydneyscreeningofMyOwnPrivateIdahoin1991withagroupof
gayandgay-familiarfriends.Wewatchedthefilmtotheend,butatleastthreeother
patronswalkedoutwithinthefirsthour,oneyelling“tendollarsworthofshit”onhis
frustratedwayoutthedoor(tenAustraliandollarsbeingtheaveragemovieticketpriceat
thetime).Additionally,theplacardsofdozensofgaymaleprotesterswhopicketedthe1992
AcademyAwardsceremonythatproclaimedGusvanSantagenius,Idahoamasterpiece,
anditslackofanyOscarnominationsproofofHollywoodhomophobiasuggeststhatthefilm
wasembracedbygay-maleculturemoresothanotheridentifiablepopulations.
11. JaneFeuer,SeeingThroughtheEighties:TelevisionandReaganism,DukeUniversityPress,
Durham,1995
12. DavidEhrenstein,“XX”TheAdvocate,September1991.
13. KatieMills,inS.Cohan,S.andI.R.Kark,TheRoadMovieBook,Routledge,London,1997.
14. PaulBurston,“WhatAreYouLookingAt?QueerSex,StyleandCinema”,Cassell,London,
1995.
15. Taubin,“ObjectsofDesire”.
16. http://www.planetout.com/popcornq/db/getfilm.html?180
17. Rich,“NewQueerCinema”.
18. Mills,“TheRoadMovieBook”.
19. TomPyszczynski,SheldonSolomon,andJeffGreenberg,“IntheWakeof9/11:The
PsychologyofTerror”,AmericanPsychologicalAssociation,WashingtonD.C.2002,p.98.