Gay Directors - Gay Films?

An illuminating examination of the work from five distinctive auteurs of gay cinema, veteran film critic Emanuel Levy's ninth book, "Gay Directors, Gay Films?," studies "the effects of sexual orientation on the career, film output and sensibility" of directors Pedro Almod�var, Terrence Davies, Todd Haynes, Gus van Sant and John Waters.

Written as a "general interest book" to "reach a broader audience that goes beyond the academic milieu," Levy focuses on each filmmaker individually, providing the reader with information on their early lives before diving into a chronological analysis of their filmographies. Reviewing their work in relation to "the ideology, politics, and culture of their respective societies," Levy's goal is to "explore how these directors have channeled their sexual energies, anxieties and identities into the creation of film art through the specific shape and form of their gaze."

Pedro Almod�var, known as Spain's enfant terrible, gets the most extensive treatment out of the five filmmakers. (At 117 pages, his section takes up roughly 34 percent of the book.) Renowned as one of the most prolific contemporary filmmakers in the world, he's crafted nineteen features in thirty-four years, some of his most iconic works being "Women on the Verge of a Nervous Breakdown" (1988), "All About My Mother" (1999), "Talk to Her" (2002) and "Volver" (2006). Inspired by the works of Alfred Hitchcock and Douglas Sirk in particular, Almod�var "creates characters whose sexuality is fluid and identity is confused," framing their dilemmas within a nonjudgmental perspective.

Arguably the least accessible director of the bunch, Terrence Davies is examined as a "subjective memorist" who explores how "art can liberate people from their sorrow." Deconstructing his works, which consist of cinematic adaptations of "The House of Mirth" (2000) and "The Deep Blue Sea" (2012), Levy conveys how Davies frequently centers on members of the working class, mainly women, whose lives are comprised of often-unendurable hardships. Yet, for all of the bleakness in Davies films, Levy argues that based on the director's philosophy, there is "beauty and genuine warmth" even in the harshest of realities as a societal outcast.

A pioneer of the New Queer Cinema movement during the 1990s, Todd Haynes is an independent filmmaker who transgresses conventional Hollywood formulas to provide startling commentaries on society's perceptions of class, gender and sexuality. From his controversial debut feature that tackled the AIDS crisis, "Poison" (1991) up to his most recent work, the HBO miniseries "Mildred Pierce" (2011), Levy argues that Haynes' universe is one in which "sexuality is a major, dangerous force that can potentially disrupt social order and culture values." It is with this theme that Haynes sets up a seemingly conventional dilemma within the structure of his films, only to subvert audience expectations and delve into more experimental territory that challenges the viewers' preconceived notions of identity.

Focusing on alienated youth in America, Gus van Sant is, as Levy writes, "one of the undisputed leaders of new American independent cinema." A multitalented artist who's achieved mainstream success with films such as "Good Will Hunting" (1997) and "Milk" (2008), as well as received several accolades for his independent work such as the Palme D'Or-winning "Elephant" (2003), Levy studies how van Sant's pictures primarily consist of "visual images and evocative silences to tell stories poignantly, without reliance on language and dialogue."

Despite some of his features revolving around gay protagonists, such as his debut feature, "Mala Noche" (1986) and "My Own Private Idaho" (1991), Levy emphasizes that van Sant's concern "lies more with working-class youths, disregarding their particular sexual orientation or at least not dwelling on it as the crucial defining attribute of their identities and lifestyles."

Last, but certainly not least, Levy analyzes the "Pope of Trash," John Waters. Known primarily for his low-budget gross-out comedies engineered to evoke laughter through shock value, such as "Pink Flamingos" (1972) and "Female Trouble" (1974), Waters became an established cult figure and cinematic provocateur. Levy outlines Waters' queer sensibility as a filmmaker through his quote, "My films are about people who take what society thinks is a disadvantage, exaggerating their supposed defects, and turning them into a winning style."

Though Levy could have gone more in depth in regards to how the directors' sexualities define their particular cinematic visions (the private lives of each filmmaker have been subsided), "Gay Directors, Gay Films?" serves as an insightful, entertaining read for those who are invested in film history, as well as gender and sexuality studies. In attempting to find a "middle ground" between popular film journalism and scholarly theses to examine these prominent figures of gay cinema, Levy has, for the most part, succeeded admirably.

"Gay Directors, Gay Films?"
by Emanuel Levy
Columbia University Press
$25.00