Page 633 - Gay San Francisco_Eyewitness Drummer
P. 633

Gay San Francisco: Eyewitness Drummer                 613
             they pay admission for a movie only to find out what’s on screen is more
             than they bargained for: a film.
                Before you approach the box office, read reviews and listen to word-
             of-mouth to determine if the feature showing is a movie or a film. Then
             figure out if you’re in a movie-mood for entertainment, or in a film-mood
             for intensity. Since most reviewers are confused assholes trying to judge
             movies by film criteria, and films by GP-movie standards, you basically
             pay your money, take your chances, and wind up as your own best movie/
             film critic.
                With an entertainment-movie, you get pretty much the sound of
             music that you bargained for. With the intensity of a film, you can bet
             you’ll be yanked into some artful spaces you never expected to go. When
             you leave a movie, you exit much the same as when you entered. When
             you leave a film, you exit changed by an experience that really opened
             your eyes and your mind.
             SALO IS A FILM


             Poor Pasolini: more misunderstood dead than alive. He filmed clues to
             his murderer’s identity. His murder is our attempted murder. His clue is
             Salo itself: a film about the Bryants and Briggs and Pryors (whose grand-
             mother’s name is Bryant). Pasolini’s Salo is a cautionary film, a warning
             flag. He is frankly blunt in his message about political Fascism that kills
             the individuality of sex. For Pasolini there is no pentimento in Salo. No
             regret. No change of heart or mind. Certain murder, he cautions gays,
             lies in wait.
                Salo is a dark film shot in a narrow space.
             SALO IS ABOUT AMERICAN GAYS TODAY: 1978


             There are two kinds of S&M: ritual and real. Ritual S&M men go to see
             Salo hoping that Pasolini has made a gay porno-fantasy movie as innocu-
             ously entertaining and ritualistic as the gay porn film Born to Raise Hell
             (1974) shot by Roger Earl [Warnix] and Terry LeGrand. Instead, Pasolini,
             although a fan of ritual-macho S&M, in Salo presents a scary film of real
             S&M. (And rather disappointingly straight at that!) Gay ritual S&M is
             Black Leather Therapy acted out for mental health with mutual consent.
             Straight real S&M is the evil stuff of a Hitler born again in a Bryant,
             Briggs, or in the LAPD Police Chief Ed Davis. Real S&M is Fascism.
             Chances are that American Gays in the coming 1980s are in for a fantasti-
             cally Fascistic bad time. Goodbye, glitter, and, hello, Anne Frank!



           ©Jack Fritscher, Ph.D., All Rights Reserved—posted 05-05-2017
                HOW TO LEGALLY QUOTE FROM THIS BOOK
   628   629   630   631   632   633   634   635   636   637   638