International posters for "Brokeback Mountain" and "Fire". The solemn, downturned faces in the "Brokeback" poster indicates that this is a tragis love story, whereas the smiling faces on the "Fire" poster shows this film is uplifting and celebratory of their love.
As the oldest and strongest human bond, love as been portrayed in many forms in art, literature and, most frequently in modern times, cinema. Romantic love has often been the central theme of several films, and a major sub-plot in other films with different focuses. However, romance in cinema has always been tailored to a stereotypical formula, since film-makers realized the potential of romantic films at the box-office. Few film-makers have successfully broken the mould and made “original” love stories for the silver screen; however there have been significant efforts in doing so and establishing a new sub-genre within romance – homosexuality.
With social and societal advances such as the abolition of slavery and apartheid, women’s suffrage, and establishing independence from colonial ruling, there have been several changes made in laws around the world to reflect equality for people of all races and genders. When it comes to homosexuality, however, even the most socially advanced nations are hesitant to clearly establish rights for people who choose to deviate in their sexuality from the social norm.
In today’s entertainment business, homosexuality is no longer openly considered to be a social stigma. Hollywood and several other film industries have embraced the idea of equal representation for homosexuals as characters in film and television. Most films that feature gay and lesbian characters focus on their homosexuality (such as in The Rocky Horror Picture Show) rather than feature a story where the characters happen to be gay (such as in The Color Purple). While this may contradict the notion that homosexuals are treated equally (after all, a film that features a heterosexual romance does not always focus on the romance as the main plot), it actually helps to bring about a certain understanding behind the psychology of homosexuality. Since it is often viewed as a disease of sorts, these films aim to shed light on the choices made by the gay and lesbian characters and explain the pain and loneliness they feel when society ostracizes them because of their choices.
Several seminal films featuring gay and lesbian characters prominently have gone on to become classic films, representing great film-making and acting. However, such films are even today viewed as risky ventures since the critical and audience reaction cannot be predicted. Still, films continue to try to realistically portray homosexual characters in cinema so that people may accept them (if not their lifestyle choices) into society.
When thinking of homosexuals being portrayed in modern cinema, one’s mind immediately jumps to Ang Lee’s 2005 film Brokeback Mountain. Annie Proulx’s story about two lonely Wyoming ranch hands in 1960’s America created a storm of controversy when first released. It was taking the classic alpha male stereotype, the “American cowboy”, and portraying them not only as homosexual, but also as emotionally unstable and essentially “womanly” men.
The two protagonists, Ennis del Mar and Jack Twist, develop a friendship while working together herding sheep over one summer on the titular Brokeback Mountain. Over time, and through the instigation of one drunken night, the two realize that what they feel for each other is more than friendship. Each at first denies the attraction(both declare after their first tryst that they are not “queer”), but slowly succumbs to it, all the while keeping it a secret and separate entity form the rest of their “normal” lives. Each ends up married to other women, but they never find the comfort and companionship that they found in each other, with their wives. Everything comes to a tragic end when Jack dies suddenly of apparently unknown causes, and what started as a sincere love affair between two lonely men ends in loneliness once again.
All-American Cowboy: Although the focus is on character development, the films retains the visual aspects of a Western - from costumes to scenic settings of the Wyoming mountains (Alberta, Canada for the film) to rodeo ranches to saloon bars - which is essentially a "manly" and "macho" sub-genre of films.
One of the more important issues that this film seems to bring out is that homosexuality is a choice. Ennis and Jack are both attractive young men with many prospects – they could both get any women they wanted as sexual partners. This is highlighted especially when both men get married - Ennis to his fiancé Alma, and Jack to the spoiled daughter of a rich rodeo rancher, Lureen. However, they are shy, passionate and reserved, and they find happiness only in each other’s company where there is no pretense. They choose to love each other, despite the fact that they have all the desirable attributes of a heterosexual male and have female companions that are “suitable” mates, and this emphasizes on how homosexuality is a lifestyle choice and not some disease or affliction.
The secretive nature of their relationship is played up to emphasize how intolerant the rural society in 1960’s America was. In an era where civil rights and equality for all had not been laid down, the question of homosexuality being accepted in society was absurd. In the same hand, it goes to contrast how little society has changed, especially in the same geographic areas portrayed in the films. Very little of the attitude toward homosexuals has changed, and although modern society promises tolerance towards all, they do very little about it when it comes to keeping true to their word. In the same way that Ennis and Jack keep their relationship secret so that they do not get lynched or ostracized, people today (especially in the entertainment business, where some people make a career or selling themselves as a sex symbol) keep their homosexuality a secret and remain “in the closet.” It’s strange to think to that even in the most progressive of all nations, people are forced to maintain secret lives or face being ostracized by society.
Loving symbolism: just as with any relationship, years of love and memories lie within inanimate objects, like Ennis's and Jack's shirts folded together on the same coat hanger, next to a picture postcard of Brokeback Mountain.
The overall treatment of the story and the general temperament of the film is that of a tragic love story of two lovers torn apart by society. Without the element of sexuality, it seems to fit perfectly into the stereotype of unfulfilled love with a tragic ending. The protagonists are lonely and withdrawn, but find pleasure in each other’s company. They fall in love but are afraid to admit it to each other and to themselves, because of fear of the social order. Even cinematic clichés like stolen glances, long embraces, and fights that eventually culminate into the characters confessing their love for one another – the essentials of any secret love being portrayed in cinema – are used to good measure in this film. By giving a film with homosexual protagonists the same treatment as one would for one with heterosexual protagonists, the film-makers intend to convey that there should be equality in the way homosexuals are treated. If a man is shunned from society for leaving his wife for his gay lover, he should be treated no differently if he left his wife for another woman. The real tragedy of the film seems to be the fact that what had kept Ennis and Jack apart from each other (fear of homosexuals) has not been legally erased in society like racial segregation, or passed through like wars or civil unrest.
United in strength: the women of "Fire" may share a taboo love, but they thrive upon it and find a new sense of courage and hope for their lives together. They go against convention not only in the conservative society of India, but also the world.
On the flip side, in a society generally considered to be conservative, films portraying homosexuality are mostly regarded to portray empowerment and freedom. Deepa Mehta’s 1996 film Fire fits neatly into that category. The story itself blends social commentary about the status of women in India along with the parody of the notion that one tends towards homosexuality when unable to find a suitable heterosexual partner. The film focuses on the lives of Sita and Radha, two housewives (by way of arranged marriage) that live as part of a joint family in modern-day Delhi. Radha has been married to her husband Ashok for nearly 15 years, but has no children since she is infertile. Spurred by this, Ashok becomes an ascetic of sorts and remains celibate, using Radha as a test for his resolve. Meanwhile, Sita has been newly married to her husband Jatin against his will. In an attempt to rebel against his parents’ wishes to settle into a conventional arranged marriage, Jatin continues to see his girlfriend despite being married, thus neglecting Sita routinely.
From friendship: Radha and Sita form a special kinship from their lonely marital lives. From ordinary household chores like hanging up the washing (top left) to visitng the the temple together (bottom left), they begin a friendship. This turns into a stronger, passionate bond from shared talks late nights (top right) to meals shared together (bottom right) since their husbands have no wish to spend time with them.
With no one else to turn to for companionship or understanding, the two women become friends and gradually discover their feelings for each other. However, when living under the roof of their conservative in-laws and particularly inquisitive servants, their relationship cannot remain a secret and they are soon discovered together by Ashok. Rather than giving up their relationship, the two women leave their homes and husbands and begin a new life together, without any bounds or restrictions to their happiness
The theme of this film also focuses on choice – not just on homosexuality but also on every choice we make for ourselves. The films asks the audience to question whether the choices we made for ourselves were entirely our own, or were influenced or pressured by parents, society and conventional norms. In this modern age, the rather antiquated notion of arranged marriage still prevails in Indian society. Women are allowed to pursue higher education in schools and colleges, yet they submit themselves into being obedient housewives rather than choosing a career path for themselves. The film presents the matter of choice - if women feel like they are being oppressed and restricted it is because they have allowed themselves to be so. In the subconscious of the average Indian, a woman’s place is still as the home-maker: submissive and docile, and obedient to her husband’s every wish. The film urges women to realize that it is only by choosing to progress further in society can they make actual progress. If a woman agrees to reduce herself into nothing more than a servile domesticated entity, then she has no one to blame but herself.
Escape: Radha is confronted by her husband after having her affair with Sita discovered (top left) and in the ensuing struggle, Radha's clothing catches fire (top right). However escaping the flames of the ruins of both her marriage and her clothing (bottom left), she finds Sita and both are united to life their lives together (bottom right).
As is expected, homosexuality is portrayed as an extreme social taboo in Indian society. Heterosexual relationships that do not culminate in marriage are frowned upon, so it comes as little surprise that homosexual relationships are regarded almost akin to devil worshipping. Fire was the first Indian film to explicitly depict homosexual relations in contemporary India and thus drew a lot of controversy as well as criticism for being overtly feminist and promoting homosexual agenda. Since homosexuals do not live openly in Indian society, there is no way of knowing whether the portrayal was accurate or not. However, the main focus seems to be feminine empowerment rather than the homosexuality.
Both films do an excellent job of establishing a romantic relationship between the protagonists. At the same time, issues that are actually the main focus of the plot are highlighted subtly. The themes of both films are choice and consequence – Brokeback Mountain shows us that if you choose a life that denies you happiness in order to maintain face in society, you must have to accept the loss and heartbreak that comes with it, and Fire shows us that women can break away from the shackles of mundane domesticity and neglect if they make the choice to stand up for themselves. More importantly, by presenting the romantic relationships as taboo and secret, they emphasize on the importance of love in our lives, and how we, as humans, cannot survive without companionship. Love transcends beyond sexuality and physical needs – it is also an emotional and spiritual connection, and both films strive to tell the audience that it is in this vein that homosexuality is no different from heterosexuality. At the core, they are films that are about love, loss and choice - which are essential in life of any sort.
No comments:
Post a Comment