Bondi Classic
by
Paul Freeman
Hardback, 235
pages, $49.95
Cowboy Mouth
Publishing (2003)
Sydney Australia
ISBN: 0975143905
Australian
photographer Paul Freeman, particularly well known for his work
exhibited in the luxurious international portraiture magazine blue, has
created the first solo book of his superbly evocative photographs of
heroic male nudes filmed both in the studio and along the rugged and
spectacular Australian coastline. The stunning Bondi Classic may well
be the most exquisite book of male nude photography produced this
year.
In a brief, but
fascinating introduction Freeman traces his inspiration for his
masterworks of portrait photography from his early introduction to
religious and classical art via Irish Catholicism. In particular, he
was influenced by masculine images of the Roman soldier Saul on the
road to Damascus, the paintings of the martyred St. Sebastian, and the
sensuality found in religious works of art by such revolutionary
masters as Caravaggio (1573-1610). As a boy who was already developing
an eye and appreciation for art, Freeman was especially drawn to the
idealized heroes of Herculean men who paradoxically also evidenced a
near-feminine sensuality and openness. His allusions to classical and
religious art are unmistakable. Later in his life, when he chose
photography as his art medium, Freeman was greatly influenced by the
genius of photographers Leni Riefenstahl, Bruce Weber and Herb Ritts.
But, make no mistake. The epic photographs found in Bondi Classic are
clearly and solely the result of the genius of Paul Freeman. He
definitely has his own unique vision of classical masculine beauty.
The many formative
influences come together in this monograph of rugged, heroic men in
magnificent nude portraits. Freeman eschews the exclusive use of male
photographic models. The striking men in Freeman’s photographs include
actors, sports heroes, Olympians, and models who exhibit an incredible
sense of freedom even when dressed in Roman gladiator garb and boldly
thrusting forth swords while being photographed in the studio. There is
an indelible sense of masculinity that pervades all of Freeman’s art.
Moreover, in addition to the very great specimens of manhood Freeman
displays in Bondi Classic, he adds the awesome beauty of the Australian
coastline, volcanic rock formations, rain forests, and the wide open
seas as an added bonus. It is a combination not to be missed.
The influence of
Leni Riefenstahl is especially apparent in the fluidity of movement
Freeman captures in athletes in motion. His nude divers seem to belong
to the world of flight and are made to appear capable of defying the
laws of gravity. His swimmers crash into the Australian surf with
incredible visual beauty. The athleticism of the heroic models is
paramount whether they are subjects with primitive spears, entangled
wrestlers, or gutsy boxers. Yet, in the same moment, Freeman is just as
comfortable showing the identical spear thrower passionately and
sexually intertwined in the arms of another handsome man. Although the
artist’s subjects are clearly posed, there is an exceptional sense of
freedom, independence, and lack of restriction in every image. The
masculine self-determination is always foremost.
While the vast
majority of the models exhibit full frontal nudity, Freeman is a master
of eroticism that is demonstrated through the portrayal of models who
are partially covered with seaweed and loincloths or who are
photographed from positions that obscure their genitalia. The latter
photographs are among the most sexually-charged images in the book. A
perfect example is the color plate #225. Freeman’s seemingly
spontaneous image portrays a masculine figure, photographed from
behind, diving into an ocean wave. The perfect symmetry of the manly
body, the ideal back, buttocks, legs, and feet are not only a
representation of the human body form as perfect natural sculpture, but
the excitement of a man merging with the sea to become one with nature
is astonishingly arousing.
Freeman’s
faultless eye for varying perspectives is also dazzling. His subjects
are photographed from every conceivable angle and virtually every
natural position. The awesome manliness of the subjects is amazing;
their maleness is palpable and breathtaking. The varied racial make up
of Freeman’s models is still another added attraction.
The production
values of the book are superb. Bondi Classic is exquisitely designed
and presented as a large-format, 240-page hardback volume with a
black-and-white cover photograph featuring ruggedly handsome,
hairy-chested Aussie swimmer George Moneta. The dazzling photographs
are reproduced on extra heavy art paper. Most of the photographs are
black-and-white, but 20 stunning full-color plates are included.
Although the predominant subject matter is masculine, the volume
includes four male and female nude studies that are splendid. An index
identifies each model by page number.
Freeman’s work is
first published Down Under, but Bondi Classic is widely available in
the U. S. through gay bookstores, fine photography outlets, and online
resources such as Amazon.com. Fortunately, at least two more solo books
by Freeman, Bondi Urban and Brad X are due out in the coming year from
his publisher, Cowboy Mouth. Interested readers can preview these
forthcoming books as well as observe selected images from Bondi Classic
at www.cowboymouth.com.au.
It seems ironic
that mainstream society has universally determined that nude
photographs of women represent art while photographs of the male nude
are classified as pornography. The discrepancy has gone far beyond mere
esthetics. Photographs of male nudes have been (and remain in some
places) not only illicit but illegal. Time and again throughout the
past century, the irreplaceable photographic prints and negatives of
great photographers such as Wilhelm von Gloeden and Alonzo Hanagan
(known as Lon of New York) were destroyed by soldiers or the police and
their art works were irrevocably lost to the world. Even today it is
socially acceptable to have a photographic monograph, complete with a
provocatively posed female nude on the cover, by an artist such as the
late Helmut Newton displayed on the living room coffee table while it
remains unacceptable to provide equal space for a book by Robert
Mappletthorpe. (Incidentally, the highest sale price for a book in the
twentieth century was $304,000 paid at auction in 1999 for copy #1 of
Newton’s book Sumo that boldly displays a female nude on its cover.)
The beauty of both the bookmaking and the splendid contents just might
make Paul Freeman’s photographic creation the crossover volume needed
to give male nudes an equal place in the world of art. Bondi Classic
may even make it to the coffee table, side by side with Sumo, and that
is precisely where it belongs.
Jerry Flack,
Denver, Colorado
|
The key to enjoying and understanding Gay Cinematherapy may be found in
its opening line, “The Oscars aren’t just an awards show but the Gay
Super Bowl.” Co-authors Bergund and West contend that the movies are a
gay man’s best friend and that the local video store has the perfect
film to satisfy virtually every mood or circumstance.
The cover blurb promotes the collaborators of this confection as a
real-life “Will and Grace.” He is gay and she is straight and they are
more than just best friends and writing partners. They share a
Manhattan apartment and joint custody of a pug named Elvis. They even
mutually invite email communication at “gaycinematherapy@aol.com.”
Bergund is new to the “cinematherapy” scene but he is a must as he
provides the authenticity and verisimilitude required for this project
about cinema as therapy for gay men. West (along with co-author Nancy
Peske) apparently invented cinematherapy books. Her popular culture
therapy books have sold 250,000 copies and include such titles as
Cinematherapy for Lovers (2003), Cinematherapy for the Soul (2004), and
the forthcoming Cinematherapy Goes to the Oscars (November, 2004) as
well as Culinarytherapy (2003) and Bibliotherapy: The Girl’s Guide to
Books for Every Phase of Our Lives (2001).
Now, West teams up with her gay roommate Bergund to suggest
cinematherapy to cope with ostensibly every issue or crisis gay men are
likely to encounter in a lifetime. Their therapy tools are found in
both gay-themed and mainstream films as well as classic and
contemporary movies. They explore dozens of films through ten chapters
devoted to such gay issues and topics as coming out of the closet,
drama queens, inspirational activism, and “We-Are-Family” solidarity.
Along with the short, pithy categorized movie reviews, readers are also
treated to added bonuses such as Jason’s Barmacy that includes perfect
cocktails (e.g., “Truth Serum” made with orange vodka and Rose’s lime
juice) as well as hangover cures. Another of Jason’s
contributions is labeled “Sugar Shacks – The Man Candy Counter” and
features profiles of movie hunks including John Travolta, Brad Pitt,
and Laurence Fishburne. These vignettes describe the sex appeal
quotient of each star along with a list of his best films.
“Bev’s Hideaway and Launderette: Fabric Softeners for the Soul” is
another featured indulgence in which the author-therapist provides
unique recipes for the Betty Ford Recovery Facial, a magic potion for
the elimination of puffy eyes, and the use of body jewelry.
“Audiotherapy” consists of songs from films that fit every therapeutic
need from Judy Garland’s “Trolley Song” and Gloria Gaynor’s “I Will
Survive” to Alicia Bridge’s “I Love the Night Life.”
Gay Cinematherapy is filled with weird and wacky facts that fly under
the heading “Reality Check” and that are endlessly fascinating and
occasionally heart-breaking. On the weird side, readers learn that the
white Ford Janet Leigh drove as the character Marion in the movie
“Psycho” (1960) was exactly the same car driven by Ward and June
Cleaver in the television series, “Leave It to Beaver.” Far more tragic
notes inform readers that four of the stars of Hollywood’s first
big-time gay flick, “The Boys in the Band” (1970) died of AIDS, and 53
gay actors who appeared in “Philadelphia” (1993), the first Hollywood
film treatment of the deadly AIDS virus, died of the disease within one
year of making the film.
No gay movie book would be complete without tributes to the cinematic
divas Barbra, Judy, Madonna, Joan Crawford, and both Bettes (Davis and
Midler) that gay men supposedly worship. Indeed, an entire page is
devoted to some of the great lines Bette Davis recited in her role as
Margot Channing in “All About Eve” (1950). Great quotations from film
scripts are distributed throughout the book, most often following a
capsule description of the film in which they were spoken. A good
example is Terrance Stamp’s famous line as Bernadette in the screenplay
for “The Adventures of Priscilla, Queen of the Desert” (1994). “Being a
man one day and a woman the next is not an easy thing.”
The core of the book consists of the dozens of movie reviews that
follow a set format. Each entry includes the title and date of the film
as for example “Misery” (1990), plus its stars (Kathy Bates, James
Caan), the director (Rob Reiner), and writers (William Goldman based on
a novel by Stephen King). An overview of the film is provided and its
relevance to gay themes and issues is projected and frequently followed
up by a feature titled “Rants and Raves” such as when Kathy Bates
states, “Now the time has come. I put two bullets in my gun. One for
me, and one for you. Oh, darling, it will all be so beautiful.”
The reviews are not automatically favorable. In particular, Bergund
trashes the U.S. version of “Queer As Folk” (2000) due to its
portrayal of gay life as circuit boys behaving destructively. He also
notes that he grew up in Pittsburgh and he never once saw anything
resembling the soundstage in the film.
The majority of the movies reviewed are Hollywood features, but some
made-for-TV films such as “Queer As Folk” (2000) and “And the Band
Played On” (1993) are included as are foreign releases such as “Billy
Elliot” (2000) and “The Adventures of Priscilla, Queen of the
Desert” (1994). Documentaries are incorporated that truly range
from the sublime to the ridiculous, two cases in point being the
Oscar-winning “The Times of Harvey Milk” (1984) and the unbelievable
“The Eyes of Tammy Faye” (2000), a tribute to Tammy Faye Bakker,
starring the latter along with RuPaul. The reviewed films also range
across at least six decades of cinema that contain messages and therapy
for gays. The movies range from the 1939 classic “Wizard of Oz” to “The
Hours” and “Camp” both made in 2003.
As witty as Bergund and West are in Gay Cinematherapy, their book makes
a serious and relevant point about shopping for just the right motion
picture at the video store. When GLBT movie fans head for the local
Blockbuster or gay video store, they do not take along the latest
DVD/Video Guide by Roger Ebert, Leonard Maltin, or Jim Craddock’s
Videohound’s Golden Movie Retriever, all of which reveal the plot and
vital statistics of films (directors, actors, writers) plus toss in
critical commentary. Far more often, customers are looking for films
that fit their moods at the time. Perhaps they need an uproarious
comedy to bring some much-needed laughter into their lives, or maybe
they are in the mood for an inspirational film such as “The Times of
Harvey Milk” (1984) or just plain trash like “The Valley of the Dolls”
(1967). On still other occasions, viewers may be seeking a scary
Hitchcock classic that is guaranteed to produce goose bumps. The vital
difference between guides by Roger Ebert and company and Gay
Cinematherapy is that the films listed in the former are supposed to
extend viewers’ cinematic education whereas Bergund and West have
deliberately produced a guide to meet the emotional needs of gay movie
fans on any given night at home in front of the screen.
Gay Cinematherapy is intended to be fun and it unquestionably meets
that criteria, so it is perhaps unfair to level Kathy Bates’ famed gun
in the direction of the co-authors, Bergund and West, but their book is
not without flaws. Chiefly, the sin is one of omission. Why, for
example, do they choose to review “Beaches” (1988) and ignore “Big
Eden” (2002) and “The Broken Hearts Club” (2000)? Why feature “The
Birdcage” (1996) rather than the far superior original, “La Cage aux
Folles” (1979)? The recommended films about coming out of the closet
are fine, but none of them are as superb as the omitted “Get Real”
(1999). A sampling of other missing gems includes “For A Lost Soldier”
(1993), the British original of “Queer as Folk” (2001), “The Wedding
Banquet” (1993), “All Over the Guy” (2001), and even the often
criticized Kevin Kline vehicle, “In and Out” (1997), but the most
inexplicable omission of all is the landmark gay film “Longtime
Companion” (1990).
Bergund and West have created an enjoyable compendium of remote control
remedies for almost anything that is itching the gay man’s psyche on
any given night and they are to be applauded for that. Gay
Cinematherapy: The Queer Guy’s Guide to Finding Your Rainbow One
Movie at a Time does belong in the film library of gays, but another
scholar needs to create an updated study of GLBT films including the
exceptional movies Berglund and West do not review here plus such new
classics as “The Trip” (2002) and “Latter Days” (2004). Hopefully, such
a book will also profile REAL GLBT performers who are out of the closet
rather than the Hollywood straight men such as Kevin Kline and Tom
Hanks who win acclaim for portraying gays while legitimate GLBT artists
remain unemployed. Perhaps it is just too cruel to be so judgmental,
but Julia Roberts will never be a convincing Gertrude Stein. Gosh, are
there no other GLBT performers in the world of cinema other than Rupert
Everett, Ian McKellen, and Ellen Degeneres? Gay Cinematherapy will do
until the real thing comes along, but here is hoping the matching book
end, the one about real GLBT cinema and its stars, will soon be
published.
Jerry Flack, Denver, Colorado
|