It was the kind of film that changes lives. And it changed
mine-seeing a true gay love story, playing in major theaters, with
a passionate performance by a talented young actor in a role quite
different from anything he had tackled before.
I'm talking, of course, about
Torch Song Trilogy, which remains my favorite gay film
despite my having seen Brokeback Mountain this past
weekend. Don't get me wrong: Brokeback was a fine film,
well deserving of the accolades piling up around it. You should see
it; you should tell your friends to see it; you should hope that
most of America sees it. It's a great film in terms of both its
artistic quality and its political value (although both can be
overstated).
But I've grown tired of people talking about Brokeback
as if it's the first film ever to broach the subject of men loving
men, or as if such love is a recent discovery. The 1988 film
Torch Song Trilogy may be less palatable to the masses
(the lead character, played by Harvey Fierstein, is a drag queen),
but the love between Arnold (Fierstein) and Alan (Matthew
Broderick) is palpable and moving. And unlike Brokeback,
Torch Song's lead character insists on being true to
himself, despite the consequences. Rent it if you haven't seen
it.
The buzz surrounding Brokeback has reminded me
frequently of Torch Song, not because Torch Song
generated a similar buzz (it didn't) but because it did for me what
Brokeback is allegedly doing for audiences: send a
powerful message that same-sex love is real and worthy of respect.
The scenes in Torch Song where Arnold defends himself
before his mother (Anne Bancroft) made my heart race.
I recall one of those scenes being replayed on a Donohue show
(remember him?) in the late 80's. The topic of the show was "coming
out," and the studio audience was largely negative. Then Donohue
played the clip where Arnold forcefully tells his mother,
There's one more thing you better understand. I have taught
myself to sew, cook, fix plumbing. I can even pat myself on the
back when necessary. So I don't have to ask anyone for anything.
There's nothing I need from anyone except for love and respect.
Anyone who can't give me those two things has no place in my
life.
The tone of the audience suddenly changed. It was difficult for
them to remain hostile in the face of such sentiment. Art can move
people: Torch Song did, and Brokeback will.
Indeed, it already has. I was particularly struck by a review of
the film by Harry Forbes in the Catholic News
Service. While Forbes mentions the Catholic Church's
condemnation of homosexual sex, the mention seems ambivalent, and
it is overshadowed by Forbes's sympathetic reaction to the love
story:
Looked at from the point of view of the need for love which
everyone feels but few people can articulate, the plight of these
guys is easy to understand while their way of dealing with it is
likely to surprise and shock an audience.
While the actions taken by Ennis and Jack cannot be endorsed,
the universal themes of love and loss ring true.
This is coming from the director of the Office for Film &
Broadcasting of the U.S. Conference of Catholic Bishops-the same
church that recently banned gays from the seminary. A review in the
protestant
Christianity Today was similarly sympathetic.
There's no getting around it: romantic love is powerful, and
beautiful, and some people experience it with persons of the same
sex.
So can we expect a wave of pro-gay-marriage initiatives to sweep
the country? Not a chance, for several reasons.
First, because the people who most
need to watch this film won't. The ranch hands in Wyoming that it
portrays are far different from the NPR listeners who are likely to
go see it.
Second, because people can read
different messages into this film. Some will think that the Jack
and Ennis's love should be supported; others, that they should be
pitied.
Third, and perhaps most important,
because people are lazy, and they have short memories. I bet plenty
of the people who voted for anti-gay initiatives in the last year
saw Philadelphia in 1993 and wept when Antonio Banderas challenged
the hospital officials who wanted him to leave Tom Hanks's bedside:
"Are you telling me I am not family?" Where are these audience
members now?
The lesson is that we must keep telling our stories, not just in
the occasional movie but in our day-to-day lives.
