The Serious... and the Seriously Funny!
by Jed Ryan

The Long Island Film Festival is more than just a fund-raising event, a community gathering, or a chance to see some gay and lesbian themed movies. When we look beyond the movies as entertainment value, we can see a reflection of our community's place in the society at large-- our history, our lives, and our struggle for respect. Never before has gay and lesbian cinema been more diverse, and never before has there been a better time to appreciate and to celebrate it.

It's been established through a few informal studies that gay men and lesbians, on average, see more movies per year than straight people. Since our community has always supported the entertainment industry with all of our so-called "disposable income," and with all the gay-friendly imagery we see in the movies nowadays (independently made gay- and lesbian-themed films like "Hedwig and the Angry Inch;" mainstream movies with gay or lesbian characters, twists, or subplots like "Wonder Boys" and "The Love Letter;" and movies being targeted to our community because of subject matter or camp value like "Zoolander"), many of the younger members of the GLBT community may believe that the cinema has always been our friend. WRONG! Hollywood, which has always been always a reflection of the larger society that we live in, has had a long history of either ignoring gays and lesbians, or depicting us in a negative light. With a few exceptions, gay men and lesbians were invisible in the early days of the cinema through the years, until taboos started being broken on the silver screen. When gay characters-- or characters with questionable or non-established sexual preferences-- finally started to appear, much of it was for shock, titillation, or comedic value. There was simply no balance in the way gay men, lesbians, and transgendered people were depicted. Homosexuals was something to be laughed at, despised, pitied, or feared. In 1968, larger-than-life (and lately, MUCH larger-than-life!) Marlon Brando played a closeted military officer whose "depraved" lust for a handsome Private lead him to murder. A similar idea was used in that year's "The Sergeant." Also in 1968, Hollywood "royalty" Rex Harrison and Richard Burton embarrassed themselves by playing a prancing, bitchy gay couple in the film "Staircase." In 1970, "The Boys in the Band" broke new ground in its frank, somewhat sympathetic depiction of the lives of a group of gay friends at a party. Although there were realistic components to "The Boys in the Band," the end result was a picture of gay men as pathetic, lonely, and sad. In the 70's, effeminate stereotypes and "fag" jokes abound in depictions of gay characters-- including "Busting" (1973, which starred has-been actor Elliot Gould), "The Choirboys" (1977), and "Partners" (1982), a comedy-drama in which once-handsome (now bloated) Ryan O'Neal and John Hurt posed as a gay couple to catch a murderer of gay men. "Partners" was supposed to be a more "compassionate" depiction of gay men, but it was also loaded with stereotypes. The most notorious of all was "Cruising" (1980), which was the cinematic straw that broke the camel's back of Hollywood homophobia. This hyperventilating, exploitative, lurid thriller starred Al Pacino as a police officer who poses as a gay man to catch a killer in downtown New York City's sex-drenched, S&M-flavored gay leather community. At the end of the movie, it's implied that Pacino's character "turns" gay. "Cruising" was picketed and boycotted by the gay community, and pushed gays and lesbians to fight for more balanced images of our community in film. In the home video version of "Cruising," there was actually a disclaimer tacked on to the beginning of the film, stating that the movie is "not meant to be representative of all homosexuals"

Lesbians were not treated much better in Hollywood. Until fairly recently, due to the combination of (1) the status quo of male domination in American society and (2) the archaic pressures on women to fit solely into the "caretaker" (wife, mother) role, female sexuality in its own right was very seldom able to be expressed on the TV or movie screen. When women were allowed to express their sexuality, it was almost always in an exploitative manner, done for the enjoyment of the heterosexual male or in the context of a MAN'S vision of women's sexuality. There was no absence of lesbianism in movies of the late 60's and early 70's-- however, lesbianism was depicted from the straight male perspective-- again, thanks to the status quo. Along with that, lesbian sexuality was exploited in literally dozens of movies (the women-in-prison dramas, soft-core sex flicks, etc.) for the entertainment of male viewers, not as a realistic depiction of true lesbian sexuality or lesbian lives. The gamut of lesbian stereotypes ranged from the lesbian vampire (In "Dracula's Daughter" [1936], we see one of the first Hollywood appearances of the lesbian as a vampire, with Gloria Holden playing a predatory bloodsucker with a taste for female victims) to the lustful prison matron to the psychotic killer. Lesbians-- or women with lesbian tendencies-- were often depicted as neurotic, emotionally immature, alcoholic, mentally unbalanced, or troubled in other ways-- the bottom line being that what any sexually "confused" woman really needs is a man to "cure" her. "The Children's Hour" (1961), starring Audrey Hepburn and Shirley MacLaine, was the first major Hollywood film to deal with lesbianism, and although this film was most likely meant to be sympathetic in nature, ultimately MacLaine's character's coming out to herself had tragic consequences. Fast forward to 1981, when the dark, moody thriller "Windows" angered the gay and lesbian community with its depiction of a psychotic lesbian (played by gravel-voiced Elizabeth Ashley) with an obsessive attraction to her shy female neighbor (played by Talia Shire from "Rocky"). This flick, which was not as interesting as it sounds anyway, was regarded as the lesbian equivalent to "Cruising" and a precursor to "Basic Instinct," made 12 years later, in its depiction of an attractive, wealthy lesbian with a tendency for murder. There was a dearth of gay and lesbian images in the movies throughout the 80's, especially positive ones. The gay-themed "Making Love" (1982) and lesbian-themed "Personal Best (1982) were two exceptions-- but neither of these films sparked a renaissance in gay/lesbian cinema.

Being a believer in strict interpretation of the First Amendment, I must say that I don't believe in censorship of anyone's artistic visions, nor do I object to the viewing of any of the movies that I mentioned above or any others. Indeed, watching "Staircase" or "Cruising" with a group of well-inebriated friends can prove to be a fun night, now that these movies are so ridiculous that they've lost their power to offend.

In the early 90's, changes started taking place. Independent cinema has always been an outlet for gay and lesbian expression, spearheaded by such movies as "Desert Hearts" (1985), "Parting Glances" (1986), and "Longtime Companion" (1990), which started showing REALISTIC depictions of both gays and lesbians, and gay and lesbian lives. With the explosion of independent gay/lesbian cinema ("Go Fish" [1994], "The Wedding Banquet" [1993]), Hollywood finally opened its eyes and realized that there IS a market for movies with gay and lesbian themes. GLAAD (The Gay and Lesbian Alliance Against Defamation), in addition, has worked tirelessly for fair and balanced images of our community in the media. "Philadelphia," the provocative yet flawed 1993 big-budget "Hollywood AIDS movie" that starred Tom Hanks, with its high box office gross, proved that mainstream audiences WILL see movies with gay characters, themes, and/or subplots. Many cinema lovers see an unfortunate negative side to this, thinking that Hollywood has actually gone too far, using gay themes to try to breathe life or excitement into substandard scripts on movies or TV -- recent examples being such abysmal movies as "Three to Tango" and TV shows like UPN's "Some of My Best Friends" and that stupid former John Goodman sitcom (I can't even remember the name!) [ I believe the name was "Normal, Ohio" - ed.].

With more openly gay and lesbian artists, filmmakers, and writers, we are bound to see a new wave of gay and lesbian cinema, which is bound to be more thrilling, provocative, and daring than ever before. And there's no better way to get a sneak preview of what's ahead than at the Fourth Annual Long Island Gay and Lesbian Film Festival.

On Saturday, October 13th, the festival starts at 1 PM with "Our House: A Very Real Documentary" (1999, USA, 57 min.). This documentary examines the relationships between children and their gay parents from all walks of life and many regions of the United States. Suffolk County Legislator Jon Cooper, his partner Robert Cooper, and their children are featured in the film. As America slowly learns that many gay men and lesbians have been-- and continue to choose to become-- loving parents, the most "shocking" aspect of this movie may be just how ORDINARY many of these families are! This movie will be followed by a panel discussion with Jon and Rob and their children, as well as representatives from Marriage Equality as well as Pride and Joy. At 3:00 PM we'll see "Some of My Best Friends Are." No, cinema obscurests, this is NOT the 1971 gay-themed melodrama... it's a collection of shorts exploring the relationships between gay and straight friends. Included are: "Heteroy 2000" (USA, 2000, 3 min.) A look at a right-wing hero with amazing powers, from the creators of the animated Ambiguously Gay Duo; "The Favor" (USA, 2000, 5 min.) An animated story about a straight boy who grants his gay friend a favor. Hmmm!...; "The Heterosexual Agenda" (Canada, 2001, 12 min.) A gay look at what the "heterosexual lifestyle" involves; "Strange Love" (USA, 2001, 3 min., New York Premiere!) Homoerotic military film footage from the National Archives, set to Depeche Mode's song "Stangelove;" "Soda Pop" (USA, 2001, 7 min.) A small-town teen dreams of getting to know the hot new Spanish exchange student. Ai papi! "Drawing Girls" (USA, 1999, 15 min., New York Premiere!) Ryan and Anthony are best friends working on a comic together, but Ryan isn't interested in drawing girls! "Coffee Date" (USA, 2000, 17 min., New York Premiere!) At a gay coffeehouse, straight Todd and gay Kelly argue over the only available table where each waits for his blind date; and "Audit" (USA, 2000, 28 min.) A straight couple face a strange situation! This short stars Alexis Arquette and Sally Kirkland.

At 5:30 PM, we have the privilege of seeing the Long Island Premiere of "My Left Breast" (Canada, 2000, 57 min.) This startling, highly personal documentary follows filmmaker Gerry Rogers' struggle with breast cancer. Rogers records her chemotherapy and radiation treatments and their accompanying, difficult side effects. It's a true testament to how humor, hope, and the support of friends and family can help deal with the emotional and physical challenges of illness. Steven Flynn describes "My Left Breast" as "difficult to watch, but moving and life-affirming, with beautiful scenery." Shown with "Tillie" (USA, 2000, 13 min.) -- a "documentary" of the filmmaker's grandmother and the secret she never told her. At 5:00 PM, there's another Long Island Premiere: "Scout's Honor" (USA, 2001, 58 min.). This touching documentary examines the anti-gay policies of the Boy Scouts by focusing on the inspirational story of young former Scout Steven Cozza. Cozza, inspired by a positive experience with an openly gay Boy Scout mentor, dedicated his life to making the Boy Scouts accessible to EVERYBODY. Our local heroine Venise Charles met Steven Cozza, and has kept in touch with the young filmmaker, who is straight. The organization which Cozza started is now nationwide. Venise, who was very moved by the filmmaker's experience and endeavor for fairness, may speak to the audience after this movie. "Scout's Honor" won the Freedom of Expression Award and Best Documentary Award at the 2001 Sundance Film Festival. Shown with "Color Me Gay," a satirical "instructional" video for new gays!

At 7 PM, we'll be treated to "Sons of Hercules" (USA, 2001), from MGM film archivist John Kirk. Kirk, whose job is restoring old movies, traces the rise and fall of the many Italian-made "sword and scandal" and "gladiator" films of the 1960's. Long before Russel Crowe showed off his legs in last year's blockbuster, these "beefcake" films were among the first to fetishize and idealize the male body and view men as sex objects. Looking at "Hercules" and its subsequent innumerable imitations, the modern moviegoer can't help NOT to see the homoerotic and camp aspects of this forgotten genre. After all, many of these films featured incredibly over-the-top, delightfully evil villainesses and plenty of muscle-bound bodybuilders who couldn't act to save their lives-- but looked great in skimpy clothing. Adding to that is the fact that many of the heroes had a slender, younger sidekick (shades of Batman and Robin), and a heavy S&M element. As Steven Flynn pointed out, there were often elaborate set-ups of bondage, whippings, torture, and chains-- though these movies are, by today's standards, so tame that you could let even the kiddies watch them. This film is a combination lecture and showing of over 70 film clips, with many clips from films never before seen. It's no wonder why, even today, the inquiry "Do you like gladiator movies?" is such a loaded question!

Also that night, at 7:30 PM is "Lost and Delirious" (Canada, 2001, 100 min.), director Lea Poole's latest film which tells of a steamy romance between two girls in a "proper," all-girls British boarding school. (The boarding school has always been something of a common setting for many lesbian-themed movies!) The two students, played by Piper Perabo and Jessica Pare, are star-crossed lovers who frolic in their love for each other until their secret relationship is discovered-- and met with mixed reaction from the not-so-accepting students and faculty. This film was described by one Sundance Programmer as "eye candy for girls." It's based on Susan Swan's novel "The Wives of Bath." This film will be followed by "Wavelength" (UK, 1997, 15 min.), a short which "explores the quest for human intimacy in the world of computers and the Internet."

This showing of "Lost and Delirious" will be followed by a party at Forevergreen at 9:30 PM.

Saturday's itinerary will conclude with "All Over the Guy" (USA, 2001, 92 min.), a comedy about two guys, Eli and Tom. Opposites may attract, but can they overcome their differences in a potential relationship? Eli was raised by overly touchy-feely therapist parents and yearns for a husband. Tom is a smoking, promiscuous, AA member raised by troubled alcoholics-- and is content being single. Needless to say, the two boyz don't always see eye to eye! Tom repeatedly plays hot and cold while Eli is confrontational and can't back off. The result is sex, arguments, a flurry of emotions, and even an arrest! Will love conquer all? Find out in "All Over the Guy," which brings "gay" -- as in "happy" -- back to the notion of "gay movie." A true crowd pleaser with two leads that are, shall we say, very easy on the eyes. Lisa Kudrow and Christina Ricci appear in cameos. HX Magazine said about "All Over the Guy:" "A date movie to be sure-- assuming you haven't brought a real-life Tom or Eli along." This film will be followed by "An Early Frost" (France, 1999, 17 min.), in which a young girl discovers that her pet rabbit is gay. (Maybe the critter saw too many episodes of "Bugs Bunny" where the star dressed up in drag or impersonated an effeminate hairdresser... sorry, that was bad!)

We've saved the best for last. See Part 3 for Sunday's amazing lineup!

See Part 3 of our coverage of the LI Gay and Lesbian Film Festival

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