Queer Prizefight: Rocky Horror Vs Priscilla Queen of the Desert

This is a rather personal edition of Prizefights, as these are two of my favorite movies, a psychologist would probably tell me that this is a disturbing fact, but these were two of the films that i first felt defined me, the films that made me know who i wanted to be, and what i aspired to. I saw Rocky Horror first, and it gave me a sense of self and a sense of belonging. Next i saw Priscilla, and again the pop culture references and liberal sprinklings of ABBA music were just my thing, and i have mow seen it in excess of fifty times, these films are two of the most personal to me and to others.

 Both The Rocky Horror Picture Show and The Adventures of Priscilla Queen of the Desert are hugely important films in the history of gay culture, when Rocky Horror was first released, it became a cultural phenomenon, it was denied a regular theatrical release, and so it became a midnight movie, shown after hours to groups of misfits soon amassing a huge gay following. The Adventures of Priscilla Queen of the Desert was released in 1994, and while Rocky Horror introduced fringe themes to the mainstream gay community, Priscilla introduced the gay community to wider straight audiences. While these films are not exactly the same, they are both films that are hugely beloved, and while i see that it may be impossible to choose between them, i will attempt to analyze them based on their following, music and costume design.

Both films have dedicated fanbases, though fortunately neither gives their followings punny names. The Adventures of Priscilla Queen of the Desert has a much larger and much more mainstream fanbase, the music of the film is well known, and the soundtrack was commercially successful, the songs in the film are of particular interest to the gay community, but are also well known universally. The Rocky Horror Picture Show is an original musical, featuring songs written by Richard O'Brien. The Rocky Horror Show started out as a musical, played on the west end with much of the same cast before being adapted to film. The adventures of Priscilla Queen of the Desert was later adapted to a musical which premiered in Australia before moving to the west end and Broadway. Both shows were hugely successful, and both continue to show to this day.

Both also have fantastic costume design, being gay movies though, this is superfluous information. The costume design of Rocky Horror is now iconic as it has been replicated by fans for the last forty years, the character of Frank-N-Furter is a transvestite, and thus wears an outfit consisting of lingerie, heels and a black velvet cape. Riff Raff and Magenta dress as a typical butler and maid, and Columbia wears a delightfully effervescent covered in gold sequins, also imitated is the heavy make up that Frank wears, which has also been reproduced by fans. The costumes of Priscilla are also typically overstated, as only a film about a group of drag queens could be, the costumes are larger than life and over the top, and the film is like a typical drag show on GHB.

Both Rocky Horror and Priscilla are fantastic films, both have great music and an absurd sense of fun. It is emotionally impossible for me to choose between these films, i love them both too much, they are both a part of me and I don't think it is possible to say that one is better than the other. Both are great cult classics, and both deserve a unique place in cinematic history.

Marie Antoinette

Marie Antoinette is a 2006 historical drama, written and directed by Sofia Coppola, starring Kirsten Dunst, Jason Schwartzman and Rose Byrne. The film is a highly loose adaptation of the life of the French queen, and represents the life of the queen, from the age of 14 when she was promised to the dauphin, the future king of France, up until the French revolution, when she and her husband were forced to leave Versailles.

The film is a highly loose adaptation, and style clearly takes place over substance in this adaptation. Kirsten Dunst shines as the young and troubled young queen. The film is a highly humanizing portrait of the young queen’s life, and elements of the film are intentionally modernized in order to humanize the characters involved, rather than portraying Marie Antoinette as a selfish and spoilt girl, Coppola presents her as a deeply flawed young woman, entirely cut off from reality, and trapped within a world she had no control over. Jason Schwartzman also stars as Louis XVI. The film also has the distinction of introducing the world to Rose Byrne, who plays Yolande de Polastron, a beautiful and extravagant duchess, a favorite of Marie-Antoinette.

The film is a visually stunning and lavish representation of pre-revolutionary France, and of the court of Versailles, the production had unprecedented access to the court of Versailles and its grounds, and it is of huge advantage to the film. The film is infused with the essence of Versailles, something which could not be achieved if the sets had been constructed for the film. The film is also lavishly costumed, and won an Oscar in 2007 for Best Costume Design. The film often sacrifices historical realism for character development, and the clothes are used intelligently to give us an idea of who these characters really are as people, rather than simply putting them on a pedestal. Marie-Antoinette’s character is developed largely through costume, at the beginning of the film, her costumes are used to show her naiveté and innocence, she wears dresses in blue and pink, with little hats and necklaces, her make-up is also highly subdued at this point, showing that she has not yet reached an age of sexual maturity, and that she is essentially a little girl. Towards the end of the film, as Marie-Antoinette becomes more rebellious and free, her style changes as well. Her make-up becomes darker, more flirtatious, with redder lipstick and more blush, showing her blossoming into a freer and emancipated woman. Towards the end of the film her wardrobe changes also, and she begins wearing darker colors, more daring silhouettes. She also begins to dress in a far freer way; she begins to wear simple, shepherdess dresses, showing her desire for a more liberated, less conservative existence.

Supporting characters are also introduced largely by their wardrobe, Madame Du Barry, a prostitute and favorite of the king is shown with dark defined make-up, and modern avant-garde clothing, looking highly unlike the rest of the nobility, ensuring that she is seen by the audience as an outsider, given that she is not a true member of the nobility. Costume is also used to show the sheer extravagance of the royal family, Manolo Blahnik created hundreds of pairs of shoes for the production, and at one point in the film, we see a pair of modern Chuck Taylor’s, in pale blue under a table, showing that Marie Antoinette is essentially still a young teenager, even if she is the Dauphine of France. Also important in the film are wigs, Marie-Antoinette brought in a fashion for wigs in France, and in the film Marie-Antoinette beginning to wear wigs is a turning point in the film, as her extravagance begins to become inappropriate. Her wigs also show her innocence, that even though she was a grown woman by this point, even though she was queen of France with responsibilities and children, she was still immature and childlike, willing to try odd and even downright ridiculous things.

The film is a highly humanizing portrait of the doomed queen; Marie-Antoinette is portrayed as being entirely cut off from reality, Versailles is depicted as an entirely cut off world, a world in which she was endlessly trailed by courtiers and servants. Marie-Antoinette is portrayed as a woman who couldn’t possibly know about the troubles of the working people of France, because she was entirely cutoff from reality, and as a woman who desperately longed for a simpler life. She is described as essentially a woman who was in the wrong place at the wrong time, and who cannot be blamed for the financial woes of France. Marie-Antoinette is shown to be a woman who cares deeply for her country, despite not having been born in France, and as a woman who accepts the position she has been put in despite it not being her fault.

Louis XVI however is portrayed in a highly unsympathetic light; he is shown to be pompous, unfriendly and uncaring towards his wife. His inability to consummate the marriage is of considerable pain to his wife, and yet he makes no attempt to console her, the film also places the financial ruin of France solely in the hands of Louis XVI, given that it was him who sent troops to America to fight the British, a move inspired wholly by ego. The film’s use of music is also superb, as is traditional for Sofia Coppola films; the film uses a soundtrack of new age and post punk music, which although anachronistic, really allows us to empathize with the characters. The use of anachronistic music, which although being de rigueur today, was relatively unheard of in the early 2000’s, allows us to see Marie-Antoinette as a young teen, and gives us a way to relate to the film.

Although being lightweight and frivolous, Marie Antoinette is a well-produced, visually sumptuous and deftly acted drama; the film finds a way to allow us to empathize with these historical characters, by taking them off their pedestals and humanising them greatly. Marie Antoinette is a harrowing and personal view of the doomed queen, a woman who despite being spoilt and selfish, is not guilty of either the financial ruin of France or the downfall of the monarchy, and who has been made to pay for the faults and flaws of the monarchy as an institution. Sofia Coppola shows that she again is a highly capable director with a real voice and opinion, and is successfully able to translate this overly told story to the big screen, giving it a new perspective and enlightenment. Rating: A

Marie-Antoinette: Am I to be Austrian or the Dauphine of France?

Factory Girl

Factory Girl is a 2006 biopic of actress, model and muse Edie Sedgewick, and her relationship with Andy Warhol. Sedgewick first met Warhol whilst working as an art student in cambridge, she moves to New York City in order to pursue her career as an artist, she ended up appearing is a number of his films during the 1960's and became his muse for a while. Her relationship with Warhol led to her becoming a worldwide celebrity and icon, and she tragically passed away in 1971 at the age of 28.

The film is shot very much like a documentary, the camera, whilst always being in the right place at the right time, is never flashy, and never overbearing, this gives the whole film a cinema verité feel, where the camera is simply observing, and is never a feature of the film. The narrative of the film is also documentary like, as in Grey Gardens, the cameras simply roll and watch the drama play out, there is no attempt to streamline the film into a distinct and linear narrative, whilst the action is all chronological, there are huge jumps in time and narrative and the film takes place over an indeterminate period of time.

The film features undeniably fine performances, and Sienna Miller is surprisingly good in the leading role, i will admit to not having seen a lot of her work, and knowing of her largely from her relationship with Jude Law, her affair with Daniel Craig and her featuring in The September Issue, however she is oddly perfect in the role of Edie Sedgewick, a woman who is fragile, vapid and foolish, who places all her trust in Warhol at the begining of the film, and whose blind faith will ultimately lead to her being cast off and left for ruin. Despite the film being filmed and told in a cinema verité style, the film is nonetheless very much told from Edie's point of view, the audience is expected to understand and empathize with her despite the carelessness of her actions, and we are supposed to blame her entourage for her situation, and her subsequent decay.

However the real star of this picture is Guy Pearce, who plays Andy Warhol, few actors have the confidence to take on such a hugely iconic and challenging role, and yet Pearce pulls it off with style and panache. What is so impressive about his performance is that we really feel like we know him, despite the fact that he rarely, if ever takes off his sunglasses, Pearce's performance is so deft and powerful that he takes an icon down from his pedestal, and makes him human, he penetrates the sunglasses and the wigs, the blind stares and ironic glazed voice and makes a real character whilst remaining faithful to the status of such a powerful and influential artists.

Factory Girl is a film which succeeds on the strength of it's performances and its visual pastiche, whilst the story suffers, and is reduced to a mere series of vignettes, the lack of narrative is interesting to follow and gives the film an interesting flair, however the film is simply unable to craft a convincing or understandable story from it's wonky narrative. Rating: C+

Edie Sedgwick: To me, New York was Jackson Pollock sipping vodka and dripping paint onto a raw canvas.

Finding Our Breakfast on Pluto

During the mid 70's a young trans-woman named Patrick "Kitten" Brady journeys from Ireland to London to find her long lost mother who was swallowed up by the  greatest city in the world. Played by Cillian Murphy, Kitten ends up working as a magician's assistant, a prostitute, a womble and a in a peepshow, the offspring of a priest, Kitten grows up in revolutionary Ireland, close to the border on Northern Ireland raised by his adoptive mother an environment from which he eventually escapes living rough for a few years.

This beautifully quirky dark comedy uses over thirty short chapters to explain the story of Kitten, a young transwoman, despite Kitten being trans, the film never judges her for her coices or for the hard decisions she has to make, and Kitten becomes a prostitute, and impersonates a BT saleswoman in order to find his mother. Cillian Murphy is astounding in the lead role, and he takes on not just the look of a woman, but also the mannerisms and posture. The character of Patrick is so much more than just a trans character, and throughout most of the film, inhabits a space somewhere between the hetero-normative binary system of male and female.

Kitten is essentially neither male nor female, although he starts the show biologically male, he spend the vast majority of the film inhabiting the space in between, Kitten's gender is a reference point for his emotions as he goes through his journey, he starts the film as Patrick, a young boy being raised near the Irish border by a woman he believes to be his mother, after he discovers his adoption, he begins to experiment with his appearance, taking on a more feminine or effeminate appearance.

Not knowing who his mother is, he spends the rest of the film in a sort of limbo, not knowing where he comes from, or who gave birth to him, and thus his external gender is also in a sense of limbo, he retains the names Kitten and Patrick, and works in a typically female industry with male clients, he also dates men and solicits work from male clients as a prostitutes. Towards the end of the film, when Patrick goes to see her mother, her appearance is drastically different, loosing the male aspects of her style and becoming a true physical woman.

Intentionally this happens before she even sees her mother, showing that the turning point of the film is not Kitten finding her mother, and discovering where she came from, but discovering who she is as a person and who she wants to be, she realizes that finding a sense of self will not come from finding her mother, but from finding herself. Cillian Murphy provides one of cinemas greatest performances in Breakfast On Pluto, a delightfully quirky dark comedy that remains one of the most sensitive and realistic portrayal of a trans character to date. Rating: A

Patrick "Kitten" Braden: Not many people can take the tale of Patrick Braden, aka St. Kitten, who strutted the catwalks, face lit by a halo of flashbulbs as "oh!" she shrieks, "I told you, from my best side darlings."

Marina Abramovic - The Artist Is Present

The Artist is Present is a 2012 avant garde documentary which first aired on HBO, detailing the serbian born performance artist Marina Abramovic and the performance at the MOMA in 2011. At the MOMA Abramovic performed a 736 hour and 30 minute static and silent performance art piece which featured recreations of seven of her previous performances by upcoming performance artists and a piece in which Abramovic sat immobile in the museum's atrium and visitors were invited to sit opposite her to feed from her energy.

The Artist Is Present was the largest exhibition of performance art ever featured at the Met, and was the first true retrospective of Abramovic's work. This documentary covers the genesis, creative direction and preformance of Abramovic's piece. What was so groundbreaking about The Artist Is Present was how Abramovic gave equal time and attention to each visitor, whether they were famous or not, the presence of Lady Gaga, James Franco and Sharon Stone was of little or no consequence. The documentary does largely the same thing, Gaga and Stone are not shown, and Franco, one of Abramovic's personal friends features only shortly in the video.

What is interestinng about this documentary is that it focuses as much on the spectator as it does on the artist, although the film is definitely an exploration and a celebration of Abramovic's work, the film centers largely on the people visiting the exhibition, what motivates them, how does Marina inspire them, and why they are there. the first part of the film is largely a look back at past Abramovic works, such as her works with Ulay and The Lovers, a piece in which she and Ulay each walked from opposite ends of the great wall of china in order to say goodbye to other and to end their relationship, a beautifully poetic piece.

Marina's sheer power is shown in this film, and her ability to project her emotions are show even through the lens, many patrons discovered themselves bursting into tears in her presence, and the sheer power in her eyes and her face is enough even to make those watching this film cry, Abramovic has the ability to see directly into the soul of those sitting opposite her, this ability is what makes her so powerful and limitless, and this documentary is a success simply because it show off it's greatest asset stunningly, Marina Abramovic is portrayed as one of the most defining performance artists of all time.

The Artist Is Present is a surely made and fascinating documentary, it showcase the incredible performance ability of it's star, Marina Abramovic and it is able to answer the decade old question that has always been asked about Marina; 'why is this art?'. Rating: B-

Marina Abramovic: When you perform it is a knife and your blood, when you act it is a fake knife and ketchup.

Tom @ The Farm

Tom at the Farm is the fourth feature film by scarily young filmmaker and my new crush Xavier Dolan. Adapted from a french play written by Michel Marc Bouchard, the film is about an advertiser, the titular Tom, who travels to the country to go to his boyfriend's funeral, only to find that none of the family has any idea who he is or that their Guillaume was gay. Tom quickly becomes involved in an altercation with Guillaume’s brother, Francis, and becomes entangled in a web of lies, secrets and violence.

Francis quickly sets up a dangerous game in order to protect the family from knowing the truth, he tortures Tom emotionally and physically, forcing him to invite a friend to the farm, Sara, who pretends to be Tom’s girlfriend. Tom finds himself staying longer than expected at the farm, and even starts to feel things that even he never expected.

At the forefront of this picture is the relationship between Tom and Francis, Tom starts out being afraid of him, and at the end of the film this hasn’t really changed, however, whilst still being afraid of Francis, Tom starts to fall in love. He sees in Francis everything that made him fall in love with Guillaume, his smell, and his eyes, and whilst Francis doesn’t really ever act on these feelings, he knows about them, and he uses them to maintain control. The film is essentially a long dramatization of Stockholm syndrome, and despite the violence that Tom felt at the hands of Francis, he even defends him to Sara, and stays far beyond the planned weekend.

In line with other Dolan pictures, despite being a film with a gay character, Tom at the Farm is not a ‘gay’ film, it’s not defined in any way by camp or kitsch. The film’s main character is gay only because Dolan himself is gay, and because his films which are also written by him, come from a highly personal place. Dolan himself is fantastic in the title role, brooding, dark and mysterious. Managing to hold attention for nearly every shot. Also fantastic is Pierre Yves Cardinal, who plays Francis. Somehow, despite being cruel and violent, is magnetic and captivating, somehow allowing the audience to fall as head over heels in love with him as Tom does. Cardinal does so much with very little dialogue, and before he even utters a word, we know that there is something strange about him, that there is something quietly threatening and dangerous about this oddly enticing man.

Tom at the Farm is wildly different to other Dolan pictures, much more brooding, much darker and threatening. Tom at the Farm adds a sprinkling of violence to Dolan’s imagery, and the result is visceral, shocking and gut wrenching. A different direction for Xavier Dolan, but a highly interesting one nonetheless. Rating: B+

France and Queer Cinema

I have been watching a lot of gay films recently, and seeing as i live in France and have a few gay friends, I have been discussing it thoroughly with them. Saturday night after a few glasses of wine during a screening of Once Upon A Time In America, the conversation turned to Blue is the Warmest color, a film which I in fact adored but my friends didn’t. In addition a discussion earlier that night about the films of Xavier Dolan and Stranger by the Lake got me thinking about the state of LGBT cinema in the world right now, it seems to me that the best gay films being released at the moment are French, and since releasing ‘The Kids are All Right’ Hollywood has yet to release another game changing queer film.

One of the biggest voices in queer cinema at the moment is Xavier Dolan, a frighteningly young director who has just released his fourth feature film and will premier his fifth at Cannes in May, what defines Dolan’s films is that despite having gay characters and being directed by a gay man, they are not defined by being gay, all of his films could be equally successful of they had exclusively heterosexual characters, and the fact that his films have gay characters, simply adds to their richness. Dolan has a quiet observant style of filming, almost like a documentary filmmaker, and rather than showing the audience what he can do with the camera, Dolan is content to simply let the cameras roll, and the drama unfold. It is important to remember that being gay is not an esthetic or a style, it is only just an identity, and Dolan’s films are gay only in the sense that they have men who like men in them, and not due to any specific ‘queer’ orientation.

Unlike the films of John Waters (whom I love by the way) French queer films are notable for not being camp or flamboyant, this perhaps has a lot to do with the fact that they are mostly directed by younger directors. Gay youths are much less segregated than their older counterparts, and, in my opinion are less likely to advertise their sexual orientation. This explains the more naturalistic, and subtle feel of current French gay films. French cinema also feels much less censored that American cinema, and French gay films are much less afraid to show explicit sex, Blue is the Warmest Color and Stranger By The Lake both contain explicit sex scenes, and were both released to critical acclaim.

It would be unfathomable to discuss French gay cinema without fully discussing Blue is the Warmest Color. La Vie D’adèle (French title) was released in 2013 and went on to receive the Palme D’Or at the Cannes Film Festival, the film is about the passionate engrossing love story between two young French girls living in Lilles. My friend suggested that the success of the film was perhaps partially based on it being released around the time of the proposal for equal marriage passing, and gay marriage becoming legal in france, and while I agree that the awarding of the Palme D’Or to this was in part a political statement, that doesn’t take away from this being a beautifully passionate love story, told and acted with heart and flair.

France also has a reasonably healthy relationship with genderbending and transgender themed films, the 2011 film Tomboy about a girl who pretends to be a boy in order to fit in, and the 2012 Xavier Dolan film Laurence Anyways, both deal with this deep and complex issue with a huge amount of sensitivity. Gay cinema in the rest of the world has reached a vaguely stagnant phase, and nothing really exciting is happening right now, has released a multitude of hugely successful queer films, and it is a hugely exciting time to be a fan of gay cinema.