The Boys in the Band (1970)
★★★★ / ★★★★
Michael (Kenneth Nelson) was the host for Harold’s (Leonard Frey) birthday party and all of their friends were invited. Donald (Frederick Combs) arrived early and we learned that despite Michael’s lavish way of living, he was essentially a kid with little regards to money. He got tired of things easily which could be seen by the many times he changed his clothes before and during the party. All of them considered themselves as homosexual but they ranged from the masculine, like Hank (Laurence Luckinbill), to the feminine, personified with great energy by Cliff Gorman as Emory. Some of the invited friends attended with their lovers (Reuben Greene, Keith Prentice). Another was a birthday present (Robert La Tourneaux), a “midnight cowboy” for the birthday boy. “The Boys in the Band,” based on Mart Crowley’s play, is known as the first movie that tackled homosexuality directly. I was mesmerized by the script and the performances. There were many stereotypes but even I can admit that some of them were true. I found qualities of myself and my gay friends in most of the characters; its goal was not to reinforce the stereotype but use it as a template that beneath it all, every type of gay man is different from one another despite society forcing the ridiculous idea that we belong to one category. Instead of putting homosexuals under only a positive light, I admired the film’s audacity to tackle many negative thoughts and emotions. I may not agree with some of the decisions that certain characters made, particularly Michael’s cruel game, but I was able to relate to the isolation they felt despite being surrounded by others, the anger and sadness they experienced when love wasn’t reciprocal, and the fear of wanting to belong with anyone, homosexual group of not, for a stamp of approval. The person I found most fascinating, and the one who I believe as the heart of the picture, was Hank. He was married to a woman for years, had kids, and had the painful experience of coming out to them. The addition of Michael’s former roommate in the university, a self-proclaimed heterosexual, named Alan (Peter White) made the party’s dynamic more complex. Was there an attraction between Hank and Alan or were the two just friendly? After all, Alan was very uncomfortable being surrounded by gay men. Despite Hank being gay, Alan took comfort in the fact that Hank acted straight. I thought that was very honest because I’ve met straight guys (and some of them I consider friends) who would make remarks about someone from afar being a “queer” or a “fag” while in front of me yet they fully know where my attractions lie. The heavy subject matter in the second half was balanced by funny and witty tête-à-têtes and one-liners when the party was just beginning. “The Boys in the Band,” directed by William Friedkin, was released over forty years ago but it still has relevance in today’s more accepting time because the LGBT community still faces similar issues today.
The Blossoming of Maximo Oliveros (2005)
★★ / ★★★★
This critically acclaimed Filipino film about a flamoboyant gay twelve-year-old (Nathan Lopez) who happens to develop a serious crush on a cop (J.R. Valentin) both impresses and disappoints. The conflict comes in when the cop finds out that Max’ family is involved in several crimes that range from theft to murder. I liked that this picture did not flinch when it comes to showing the poorer neighborhoods in the Philippines. While the living conditions are cramped, it still manages to show that most people are generally happy with where they are because things can get a lot worse. Having been raised in the Philippines for the first eleven years of my life, I found this film’s perspective to be accurate yet bona fide because it still manages to respect its subjects. It’s easy to look down upon a group of people if you don’t truly understand them. Another aspect I enjoyed about it was that Max being really queer was really not a big deal to most people. What I love about the Philippines and Filipinos in general is that it’s pretty easy for them to accept others who are different from the norm as long as they find a common bond. When I was growing up in the Philippines, I didn’t see a lot of LGBT celebrities on television. But nowadays, if you tune in on TFC (a cable set that people can subscribe to so they can watch Filipino programs all over the world), it’s difficult NOT to see gays and lesbians. In fact, they tend to be the most entertaining hosts on game shows or characters on soap operas. So I’m glad that this movie reflected the current realities in Filipino society. However, there were some things about the picture that disappointed me. Instead of truly exploring the non-sexual relationship between Lopez and Valentin, it delved too much into the politics of cops and criminals to the point where it took the focus away from Lopez’ interesting character. I wanted to know more about the lead character and his relationship with his accepting family (no matter how dysfunctional they may be). I also didn’t enjoy the overly melodramatic scenes. Perhaps it’s because I expected more comedy because of the trailer. Nevertheless, I’m giving this a slight recommendation because it’s strong in many aspects. It’s just that the very (but important) negatives kind of weighed down most of it.
★ / ★★★★
I think the reason why this film gained a cult following is because of the controversy it garnered when it was released in the mid 1970’s. Depiction of homosexuality in films may have been a bigger deal back then but from today’s standards, I think this is a very weak experimental directoral feature by Derek Jarman. Sebastiane (Leonardo Treviglio), a Roman soldier, was exiled by the Emperor to a place where homoeroticism is abound. Since he refuses all sexual advances, especially from a superior officer named Severus (Barney James), most of the men torture and humiliate him in multiple ways to “encourage” him to surrender his Christian ideals and personal preferences. Despite its interesting premise, too bad the execution was lackadaisical. Throughout the entire picture, the audiences are asked to observe the lives of the exiled people as live like pigs. Although aesthetically the men may look beautiful (seductive music, slow motion and all) but I found it difficult to care for any of them. I really despised it when the camera would linger for literally about five minutes just to admire someone’s body. It’s just as bad as objectifying women and I did not like taking any part of it. Moreover, while I do give this film for being entirely in Latin, I couldn’t forgive its bad acting. I couldn’t see any passion in the actors eyes whenever they’re angry, passionate or sad. I also failed to see tension in their bodies whenever they’re supposed to be “fighting” one another. I literally caught myself rolling my eyes and thinking, “Wow, that’s so lame.” I read a review from Netflix that “this film will not appeal to everyone, especially homophobics and conservatives, but [he or she] would recommend it to those that like art house or queer cinema.” Don’t get me wrong, I do enjoy LGBT films and art house pictures once in a while but this is just one of those movies that I will (most likely) never watch again. I expected some sort of a social and cultural thesis with regards to homosexuality or the feeling of alienation where something natural is treated as abnormal but I didn’t get either. With its complete lack of depth, I’m going to say to not even bother with this supposed cult classic.