Ambigu-Gus Van Sant – by James Franco
Gus Van Sant’s first film to be released in theaters was Mala Noche (1985), based on the memoir of the same title by Portland poet Walt Curtis. It depicts Walt as a gay convenience-store employee attracted to a Mexican migrant worker. His most recent film, Milk (2008), portrays the life of gay activist,politician,and martyr Harvey Milk. (I played Harvey’s partner, Scott Smith.) Van Sant has made 11 feature films and a dozen shorts and music videos between these two movies, but only one other feature and one short—My Own Private Idaho (1991) and his segment from Paris, Je T’Aime,“Le Marais,” (2006)—center on gay characters and themes. Despite this lack of explicitly gay-themed films, Van Sant is hailed as one of the foremost gay directors working today. Part of this reputation undoubtedly derives from a desire to claim his high quality and original films for the gay community simply because he is a gay filmmaker. But there is another side to Van Sant’s oeuvre that is neither gay nor straight but subversively queer in its ambiguity. Van Sant inserts this queer sensibility in both gay and straight narratives that then de-centers any clear kind of sexual identity for his work as a whole.
Van Sant’s films embrace both classic Hollywood archetypes and queer cinema styles,usually set in his hometown of Portland, to create a unique amalgamation of trashy-chic timelessness. His characters and themes undermine the notion of fixed identities, experiences, and themes. At his queer best, Van Sant usually is dealing with young people, and seems primarily interested in the young white male: his sexual desires, his talents, but primarily the social pressures upon him. Often his characters are freighted with heavy emotional, economic, or addiction burdens—but they hardly ever struggle with identity. The characters are relaxed about who they are because they are almost invariably cool. Van Sant’s aesthetic is confidently queer in its refusal to categorize, in its overarching hipness of look and subject matter that is both in your face and elusive.
It would be hard to put into words how The Walkmen played a final show with so much grace, a trait not usually attributed to a band, especially one which for so many represented charged anxiety, blasting out like a goddamn shotgun.
I grew up with The Walkmen. Not physically, but since 2001 they’ve always been one step ahead. When entering college they were on 138th street. When struggling in New York they were coming to terms with having made it. And entering my 30’s they were joyous in their good fortunes with arms full o’ babies.
Let it be known that these mid-Atlantic dudes are not rich and wielding tons of cultural influence, just let it be known that these mid-Atlantic dudes did it the right way. The whole time.
On to the next one.
'Great work, you fucking yokels.'
Fake building, paper-thin, popping up all over the city these days. “Looks great!” you say, standing outside and entirely prepared to hand $600,000 over to a broker. Joke is on you.