William Friedkin, who passed away on August 7 at the remarkable age of 87, will likely leave an indelible mark on film history through two of his notable works from the 1970s. One of these is the critically acclaimed crime thriller, “The French Connection,” which earned him the prestigious Best Director Oscar in 1971. Alongside this, Friedkin’s directorial prowess was also realized in the captivating horror film, “The Exorcist,” which made history by becoming the first of its genre to be nominated for a Best Picture Oscar in 1973. These two cinematic gems firmly cemented Friedkin’s legacy in the annals of cinema.
When looking at Friedkin’s film career, you might immediately think of his iconic classics. However, what’s really fascinating is that the director’s most prosperous period was marked by two films that were considered unconventional in Hollywood at the time. These movies stood out and stood strong, capturing the attention of audiences. They bookended a decade of Friedkin’s success, proving that thinking outside the box can lead to remarkable achievements in the film industry.
The Boys in the Band, based on Mart Crowley’s 1968 off-Broadway play of the same name, was released in March of 1970, and Cruising, based on the 1970 novel of the same name by Gerald Walker, was released in February 1980. Both explore gay life in New York, post-Stonewall, pre-AIDS, offering a glimpse of an all-too brief epoch in gay (it being the ’70s and thus pre-LGBTQ+) life.
The Boys in the Band offers an exhilarating and enjoyable experience, but beware, it takes an unexpected turn. Imagine a tight-knit group of friends in the LGBTQ+ community, engaging in lighthearted banter and preparing to honor their intriguing yet slightly hostile buddy, Harold, on his special day. However, once Harold enters the scene and the drinks start pouring, the atmosphere quickly transforms into a gripping narrative reminiscent of the intense emotions and hidden secrets found in Who’s Afraid of Virginia Woolf?. Through a twisted and cruel party game, deep-seated resentments and harsh truths are brought to light, creating a rollercoaster of emotions and revelations. Get ready for a riveting ride that will leave you captivated and enthralled.
After that, the homosexuals turn into what All About Eve’s Hays-coded homosexual antagonist, Addison DeWitt, describes as “overly sentimental and consumed by self-pity.” However, they are not truly “impressive” in any way. Instead, they take pleasure in their psychological issues, feelings of isolation, sadness, and their lack of self-esteem. Of course, one cannot entirely fault them for feeling this way.
Being gay was still considered a mental disorder until 1973. Any one of these characters, all gay men save for one obtrusive straight, could be committed on the basis of their existence. So when society tells you, in no uncertain terms, that something is wrong with you, you’re likely to believe it.
Despite its maudlin self-pity, The Boys in the Band remains astonishingly ordinary. The movie revolves around a simple birthday celebration, which unfolds within a matter of hours. However, what sets it apart is the fact that most of the characters are gay. While these individuals may not be portrayed in great depth, their presence challenges societal norms. They proudly embrace their sexuality, catching others off-guard.
Back in the day, gay characters in movies were usually portrayed as either horrifying creatures or pitiful victims, and their fate almost always ended in death, either by their own doing or at the hands of someone else. But hold on, I’ll delve into that in more detail a little later on. The Boys in the Band revolutionized the film industry, offering something entirely different from anything that had been seen in Hollywood before.
“I hear from guys all the time that this was the film that helped them come out of the closet,” Friedkin told the New York Post in 2018. “It gave them the courage not to be ashamed.”
That year, 2018, saw a Broadway revival of Crowley’s play starring an openly gay cast that included Matt Bomer, Andrew Rannells, Zachary Quinto, and Jim Parsons. Ryan Murphy then adapted that production, with the same cast, for a Netflix film in 2020.
In 1978, a significant year for the portrayal of gay stories, three groundbreaking novels were published: Andrew Holleran’s “Dancer from the Dance,” Edmund White’s “Nocturnes for the King of Naples,” and Larry Kramer’s “Faggots.” These literary works emerged two years prior to the release of the movie “Cruising,” marking a turning point in the representation of the LGBTQ+ community. Each of these books provided a distinct perspective on gay culture, exploring themes of identity, desire, and societal norms. These narratives not only challenged conventional ideas but also sparked conversations and generated curiosity among readers. By capturing the essence of these stories, the authors were able to contribute to a broader understanding and acceptance of diverse experiences within the gay community.
Imagine being transported back in time to a forgotten era, where the world was completely different from what we know today. This world was once filled with an unbridled sense of freedom, where gay men enjoyed intimate encounters without any repercussions. It was a time when queer liberation was unfolding, giving rise to a newfound sense of liberation and possibility. These books capture the essence of that era, a time that has been overshadowed and forgotten by the passing years. They offer a glimpse into a world that no longer exists, but one that was truly remarkable in its defiance of societal norms and constraints.
The books portrayed various aspects of sex, capturing the range of human emotions like fun, romance, sadness, hope, and hopelessness. Crucially, the sexual experiences depicted were alluring and compelling. However, the portrayal of sex in Cruising lacks authenticity and fails to capture its essence. It is devoid of any sex appeal and lacks the human connection that makes such encounters meaningful. I never imagined that an orgy featuring men with ’70s-style mustaches dressed as police officers could be so mundane and lacking in passion. It felt devoid of any excitement or intimacy.
However, when it comes to the movie Cruising, it is important to note that it is not just about sexuality. It is a low-budget thriller that fails to deliver in terms of both its aesthetic appeal and meaningful content. Vito Russo refers to the portrayal of homosexuality in this film as the antagonist, describing it as the actual monster.
“Can you recall a time when Captain Edelson, played by Paul Sorvino, shockingly queries Steve Burns, the bewildered police officer portrayed by Al Pacino, about experiences with receiving intimate acts from another man? Perhaps you’ve ever felt the sensation of being on the receiving end, or maybe even had someone perform that act for your pleasure?”
Edelson appears to be relishing the opportunity to delve into this particular line of inquiry. On the other hand, Burns has been given the challenging assignment of adopting a undercover role in order to apprehend a serial killer who specifically targets homosexual men. It is noteworthy that Burns closely matches the killer’s preferred profile, namely a person in their late twenties, as Sorvino aptly points out.
In no time at all, well, practically instantly, Burns discovers that he is completely immersed in his character. He transforms into a curious explorer of the vibrant gay scene in 1979 New York, taking us with him on a thrilling adventure to learn about the mysterious world of hanky culture. However, he receives a scolding for misleadingly expressing his curiosity in watersports. So, without wasting any time, Burns plunges into an extraordinary journey filled with intrigue and unexpected twists.
Burns frequents leather bars, ardently exercises in front of a reflecting surface, engages in late-night park wanderings, and overall experiences a tremendously unpleasant period. The gay persona that Burns embodies fails to bring him any genuine delight and in fact infiltrates his actual existence. Although his real-life prospects are rather unremarkable, save for his unassuming and enduring girlfriend portrayed by Karen Allen.
In one of the film’s most talked-about moments, Pacino, without any inhibitions, can be seen on the dance floor, fully embracing the unique atmosphere. He is high on a stimulating substance, taking in the energy from the surrounding environment. His passionate gestures, with fists pumping vigorously, seem to be edging towards a triumphant shout. The scene takes place in a setting that is clearly distinct from a typical disco.
Honestly, I can’t quite wrap my head around the music in this movie. It’s like a bizarre blend of post-apocalyptic country music and disco. I mean, disco was huge in the late ’70s and early ’80s, especially with iconic artists like Donna Summer dominating the airwaves. So, why isn’t there any sign of it in the soundtrack? It’s a bit perplexing, considering disco’s association with gay, Black, and brown nightlife scenes. You’d think it would be booming from every speaker.
In a conversation between Sorvino and Pacino, Sorvino humorously conveys that cruising is not focused on the typical experiences of the everyday gay individual, but rather exists as a distinct and separate world, characterized by intense leather and S&M activities.
The movie recognizes that gay individuals can lead normal lives, with regular jobs and active participation in society, while also being part of a distinct community. However, their intimate relationships are portrayed as humiliation, degradation, and even violent acts.
When Cruising was about to debut, it immediately sparked controversy within the gay community. Years of negative stereotypes and unfair portrayal in Hollywood films had made them wary of being painted as murderers and villains yet again. As a result, the gay community in New York mobilized and protested against the movie in large numbers.
“They protested by the hundreds at the sites of location shoots,” EW’s Mark Harris wrote on the occasion of the film’s DVD release in 2007. “They rented apartments next to rooms where Cruising was filming, making so much noise that much of its dialogue had to be rerecorded after production…They stood on rooftops, wielding huge reflectors to spoil the cinematography.”
Who would have thought that the LGBTQ+ community would wield real estate as a powerful tool? It seems like these individuals are experts in the art of utilizing property to their advantage. Instead of using traditional weapons, they have found a way to strategically leverage the world of real estate. It’s fascinating how they have unlocked the potential of this industry, almost like uncovering a hidden superpower. It just goes to show their resourcefulness and creativity.
Harris highlights the pivotal role of Cruising in challenging prevalent stereotypes of the LGBTQ+ community within popular culture. Essentially, Cruising was not just a movie deemed highly objectionable and terrible, but it also symbolized the catalyst for the LGBTQ+ community’s fight against homophobic prejudice. It provoked such a strong reaction comparable to the historic event of the Stonewall Riots, as if it had been the very first brick hurled in defiance against ignorance and discrimination.
When discussing Cruising, Friedkin made an effort to support the movie during his DVD commentary. He admitted that the film may not have been the most effective way to promote understanding and acceptance of the gay lifestyle among heterosexual individuals. However, he also pointed out that although many gay people protested against the movie, there were also numerous others who defended it.
It’s definitely debatable, but similar to The Boys in the Band, Cruising has enjoyed longevity beyond its initial debut. A prime example of this is James Franco’s intense tribute to it in 2013 called Interior. Leather Bar. While it may not reach the status of being a critically acclaimed work of art, it also doesn’t completely miss the mark, especially when viewed through the lens of over four decades.
The Boys in the Band and Cruising, despite their imperfections, serve as valuable snapshots of a bygone era when gay men were discovering both the art of living authentically and embracing their newfound freedom. These films encapsulate a time cut short, during which individuals in the LGBTQ+ community were not only learning to express themselves but also pushing societal boundaries. They understand that even if it required protesting against unconventional acts like Al Pacino in a revealing outfit, it was a necessary step towards realizing their true selves.
Let’s dive right into the captivating world of gay rights! In this exhilarating topic, we’ll explore the intricacies of ensuring equality and acceptance for the LGBTQ+ community. It’s like sailing through a vast ocean of possibilities, where uniqueness and individuality are celebrated. With a conversational approach, we’ll unravel the importance of inclusivity and the challenges faced by our LGBTQ+ friends. Get ready to embark on a thought-provoking adventure, where we’ll shed light on the journey towards understanding and embracing diverse sexual orientations. So, hold on tight and let’s embark on this exciting voyage of empowerment and equality!
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