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A Milestone In American 'Gay' Cinema

posted 15 years ago by BandofInsiders
6 replies | jump to latest

As the stagnant state of films in the 1980's was still in its inevitable decline the emergence of a new breed of American independent directors saw this as a moment full of opportunity. Gus Van Sant decided to turn his camera on the outcasts of a small Portland neighborhood and create an intimate portrait of 3 young men at an important turning point in their lives. Not only is Mala Noche an influential example of 1980's independent cinema it also serves as a milestone for the New Queer Cinema that would become more prevalent in the 1990's. Gus Van Sant's stark debut would serve as a blueprint for many directors to come.

Mala Noche focuses on convenience store worker Walt's and his infatuation with a young immigrant Jonny who is fresh off riding the rails from Mexico with his friend Pepper. From the film's first scene its unabashed open "gayness" lets the viewer know what they are in for. Van Sant makes no attempt to justify his films openly gay stance instead he embraces it and explores the beauty and darkness that accompany it. Walt and Johnny coexist solely based on their parasitic relationship. Walt gushes romanticized convictions for a boy he knows little about, such as "I want to drink this Mexican boy" or "I have to show him that I'm gay for him." While Johnny uses Walt for a house to crash and the occasional joy ride in his car. At the same time both are uncomfortable with their personal situation but can't help to hold on to what they have left.

John Campbell's bleak camera work adds a lot to the look of the seedy underbelly of Portland almost as if it could have been shot as a documentary. Mala Noche is one the few films that benefits from working on such a small budget. It gives the viewer a sense that Van Sant was truly in touch on a deeper level with his subjects than just an "actor/director" level. Ultimately Mala Noche is a profound representation of America's emerging "gay" cinema and an important document of Portland in the mid 1980's. Gus Van Sant would go onto make stronger films but this fascinating debut will show he has shown a strong passion for his films and his subjects right from the beginning.

[–] positiveliving-2-272864 13 years ago

There is nothing from any of the Spanish-speaking characters that would lead one to believe they have any gay tendencies -- except ONE of them is willing to be a top when there is enough money involved. That is called prostitution, and is not a "milestone." It's also quite typical in "machismo" societies. In the end, this character is killed. So that really teaches us a great lesson, doesn't it?

This is one overly-long, tedious childish gush-fest from a character who REALLY should know better... Someone who should understand that NO means NO and that he should look for more appropriate targets for his lust. This film is ENTIRELY predatory in nature, and makes me sick to my stomach, frankly. I wish it never would have been made.

If you want to refer to this film as a Milestone -- it certainly is a Milestone in showing exactly how sick internalized homophobia truly is. It's even sicker to watch on the big screen than it is in real life. The central character has NO inner life, and no remorse. He shows nothing but repeated inappropriate lust after a character who quite plainly said "No." Move on, *beep* He said NO.

This is certainly not a milestone of 'Gay' cinema by any definition of the term.

As a card-carrying homosexual, I am thoroughly disgusted that this piece of crap has been resurrected from the trash heap. That is where it belongs.

[–] BandofInsiders 13 years ago

i think you missed the point of the film. maybe you are just one of those people that hates anything that shows gay people or the gay community in a negative light. and what does you being a "card-carrying homosexual" have anything to do with anything?

[–] positiveliving-2-272864 13 years ago

No, I did not "miss the point." Between 1920 and 2000, there were very few films that EVER showed a homosexual in a good light. (Most of them die in the 3rd act -- even the "Silence of the Lambs" does this.) That does not mean that there were not major milestones of gay cinema before 2000 and some absolutely wonderful fims. Go watch "Boys in the Band." That was made before this piece of trash, and is MUCH more of a milestone than this. (And they all hate themselves.)

As for being a "card carrying homosexual"... That means I know how gay people act in a number of different societies. (You obviously do not.) There is nothing in this film that is even remotely believable.

It "film" is a piece garbage, and there are (literally) hundreds of other films on similar topics that are much better. Those films WOULD be considered "milestones." This is not one of them, and is probably why it has remained (for the most part) unknown for decades. Let's hope they lose the negative.

[–] construct 13 years ago

The original post is right. Mala Noche is a milestone in gay cinema because it is a precursor of the New Queer Cinema (hereinafter NQC). I cannot think of an earlier film that might pass as NQC--well, maybe My Hustler but that was twenty years earlier, before Stonewall even.

New Queer Cinema is a term first used in 1992 to describe a wave of gay-themed independent films that had been shown at film festivals over the past couple of years. As I understand it, NQC denotes movies made by gay people for gay people about gay people--or perhaps I should substitute "queer" people. It differs sharply from what gay advocates had been clamoring for, i.e. mainstream films with positive gay characters and stories. NQC places control over queer images squarely into the hands of queer artists. (I am using 'queer' to encompass LGBT along with whatever other sexually inconvenient letters one might decide to add.)

NQC intends to be transgressive or subversive. My Own Private Idaho deals with love between prostitutes. The Living End deals with a crime spree fueled by the death sentence of an AIDS diagnosis. Swoon is about the child-killers Leopold and Loeb. Edward II relates Marlowe's tragedy to AIDS activism. These are just examples.

Frustration, impatience, and anger under-ride much of NQC, and it often shows. The final title card of The Living End with its vulgar snarl at Washington's inaction on AIDS is a prime example of this.

NQC sometimes uses distancing devices to impede identifying easily with the characters. Poison presents three stories in different genres intercut. Totally F * * * ed Up numbers its scenes; one (I think number 7) even says that the story starts here.

Mala Noche is a few years earlier than the films I've used as examples, but it bears most of the characteristics of NQC. My bet is that you will not like any NQC movies. If you think Mala Noche is predatory, take a look at Frisk; then we'll talk about predatory.

[–] coloradochinesecrested 8 years ago

Milestone? My tuchas! It's all about some creepy dude who lusts after a man who is not interested and who is very vulnerable at this point in his life.
How is this even considered a gay film? It made me uncomfortable to watch. What a perv. Can't he understand "NO!". More of a milestone in "stalking" films.

[–] coloradochinesecrested 8 years ago

Also...he takes advantage of the guys friend since he can't have who he really wants. Even when the guy is saying, "no molesto", he still touches the guy and laughs about it. Can we all say, sexual harassment!?