“The Thorn Birds”: Love Conquers All

Image courtesy of pinimg.com

“The Thorn Birds” (1983) is the blockbuster mini-series of my generation. Based upon the Colleen McCullough novel of the same title, it was the rage when I was in high school, providing me and my friends material to supplement Sigmund Freud. Meggie Cleary (Rachel Ward) is slave to a girlhood crush on Father Ralph de Bricassart (Richard Chamberlain) that turns into a ravening love as she grows into womanhood. Their saga unfolds amid splendid settings that range from the Australian outback with its stalks that oscillate in the breeze to the Vatican, from the turquoise seas of a Greek isle to London’s West End. It spans three generations and survives devastations unleashed by a dowager’s (Barbara Stanwick) scheming as well as events that include a forest fire and personal trials on a biblical scale. A brother (John Friedrich) conceived out of wedlock is sentenced to life imprisonment. A bastard son (Philip Anglim) drowns. Meggie clashes with her mother (Jean Simmons) just as her daughter (Mare Winningham) later does with her, the cause being favoritism towards a sibling and whatever else it is that turned Kane into an embittered seed.

By the end of the four-part spectacle, my mother was in tears. Everybody’s mother was. So were we. The phenomenal thing about “The Thorn Birds” is that before it premiered, none of us at school had announced its advent. Twitter and facebook didn’t exist, and whatever publicity the media generated on the program’s behalf accounted for little; I have no memories of trailers. “The Thorn Birds” landed upon us like a UFO in our backyard. Suddenly, it was there, a stellar presence that transported us to another galaxy from which we have never fully returned. The day after the first episode, conversations at school prefaced with “Did you watch…?” and over 30 years later, we remember Rachel Ward because of “The Thorn Birds” and “The Thorn Birds” because of Rachel Ward.

Image courtesy of cloudfront.net

To cast a gorgeous unknown in the lead as bait for a smash is a standard Hollywood ploy. A countenance that’s not only easy on the eyes, but also that reflects our innermost complexities is indispensable to the camera. A star is born. Her vehicle is assured a place in entertainment history. Sample these: Greta Garbo in “Flesh and the Devil” (1927) (http://www.rafsy.com/films-1920s-1950s/flesh-and-the-devil-the-sound-of-an-original/); Audrey Hepburn in “Roman Holiday” (1953); Nastassja Kinski in “Tess” (1979) (http://www.rafsy.com/actors-models-directors/nastassja-kinski-the-eternal-tess/); Cate Blanchett in “Elizabeth” (1998). Every aeon gifts us with its Aphrodite. She embodies men’s fantasies and women’s dreams. She is the ideal that we aspire to either be or to possess. She speaks to our mothers of a past when their own passions flared to a lover’s touch upon the twinkle of the first evening star.

Nevertheless, the project is a gamble. No amount of marketing can predict the impact of a film, least of all the force with which it lodges itself into our psyche and remains inextricable long after the hype has metamorphosed into myth. “The Thorn Birds” is TV, snobs deride; art is the big screen. Such snobbery has pitted Shakespeare against Spielberg (http://www.rafsy.com/films-1960s-1990s/jaws-the-force-of-family/), Milton against Mitchell. (http://www.rafsy.com/films-1920s-1950s/gone-with-the-wind-another-day-another-chance/) Ridiculous, this disdain of pop culture. That works born from modern storytellers should achieve mass appeal is a nod to the masters, not an affront, an homage to the continuity of creativity. They relay in today’s parlance, to an ever proliferating world population, the virtues immanent in us humans that have allowed us to prosper through the millennium. One of those virtues is our propensity to care for another, unconditionally and fearlessly. This is why we are susceptive to a love story… the more dramatic, the more riveting… hence, “The Thorn Birds.”

Meggie Cleary represents youthful yearning. She can’t speak of her feelings. The object of her pining is a priest. Damnation is her penalty, if not in hell then on earth – a stake to the heart all the way through to her winter years. I can tell you a few things about Meggie’s crucifixion. When I was working in fundraising at San Francisco AIDS Foundation, my department received a contribution along with a note on which the donor, a man in his eighties, had written, “Nothing is sadder than being gay, old, and alone.” A couple of colleagues mocked the note. “What about dying of AIDS alone?” one said. “He’s probably just lonely,” said the other. I didn’t say a thing because both had a point. But so did the donor. The silence that gnaws at Meggie had marked his formative years. The gay and lesbian liberation movement would not happen for at least another two decades. Until then, medical journals attributed homosexuality to mental illness, while the law condemned it.

Image courtesy of fanpop.com

To this day, I wish I had defended the donor. Given the stride the LGBTQ community has taken towards acceptance, we blink at our right to hold in public the hand of the person we love and to walk free of harassment on a street. Now we are champions of marriage equality. All that we have achieved obscures the threat of a lobotomy to which the donor must have cowered during every moment of his youth. If his mother had ever attempted to console him and dispel his fears, I can only guess, only hope. Sad, indeed, to be in his eighties and to sit on the last Sunday of June at his window, hidden in shadows as the Pride parade passes him by.

And so I believe that someone for me is out there somewhere, whatever the barriers between us, be they incurred or outside forces thrust upon me. I owe my optimism to the Stonewall pioneers as well as to timeless tales such as “The Thorn Birds.” And to motherly wisdom. Meggie is testament that love conquers all. Her adoration for Father de Bricassart is no fleeting fancy. It grows more fervent as she matures, stoking her will to fight the forces that rip her apart from the sole person with whom she is meant to be. Neither social retribution nor God is too formidable a foe.

Image courtesy of pinimg.com

Those in the first throes of passion wage wars every day in the name of love. “A boy like that, you should know better… She isn’t right for you… What you’re feeling isn’t real… Be careful”… instead of assurance, figures of authority from Dr. Phil to our mothers squawk doubt, put on airs of wisdom that we at the tender age are determined to silence. Talk show hosts are dismissible. They throw blanket judgments at a camera. Our mothers, however, might be on to something to which we are blind. For we forget that they were once young, too, we are quick to assume that middle age has mired them in disillusionment. So why is it a number of them remain faithful to our fathers? Perhaps the reason is this: they have survived enough trials to learn that love is not a honeymoon as much as it is a test of resolve.

And so our shared tears with our mothers when Meggie, gray and wrinkled, lays her head on Father de Bricassart’s lap as he strokes her hair and breaths his last. For making it through half of Meggie’s journey, our mothers deserve an ending equally as beautiful. They are the true winners.

“Cabaret”: Come Blow Your Horn

Image courtesy of pinimg.com

A writing instructor gave me the following advice: when creating a story, adapt the role of a filmmaker. No literary wisdom has impacted me more. To make a movie requires a crew, costly gadgets from the sound system to the camera, and financial backing. To pen a novel calls for one item alone – a laptop. Through the letters I type, I am the director, actor, screenwriter, light technician, costume designer, and cinematographer. Moonlight through a window crack enhances mood. Dialogue incarnates characters. The description of a town replicates the material world. As a result, images appear on the page, producing a motion picture projected through a camera in the mind. You, my readers, sing and fly, eat and make love, and in the symbiosis between language and visuals, we learn together that all art forms are connected.

Poetry is dance. Dance is music. Music is poetry. Oscar Hijuelos, in “Mambo Kings Sing Songs of Love,” infuses prose with melody, while in “The Lover,” Marguerite Duras guides us on a ballet up the Mekong River. For Thomas Hardy, the title heroine to “Tess of the D’Urbervilles” is the central figure in a tragedy of operatic proportions. (http://www.rafsy.com/actors-models-directors/nastassja-kinski-the-eternal-tess) All of these books were made into cinema, some more memorable than others, though none quite like that based upon “The Berlin Stories,” the Christopher Isherwood classic that narrates the end of a fabled existence among a cast of bohemians during Germany’s bleakest hour.

Image courtesy of cloudfront.net

I discovered “Cabaret” (1972) when I was in high school in Manila. My finding may have been by chance, but it was destined. English courses had awakened in me a curiosity for the recesses of a scribe’s mind. Since too much is out there for one person to read, I resorted to the medium that could instantly gratify my hunger for the imaginary: film. Thanks to betamax, I could view in their entirety, at my convenience, some of the greatest stories ever told, their titles lined on floor to ceiling shelves for me to select as tickets to a lottery. Musicals guaranteed a jackpot. They were manufactured for a singular purpose – to portray life as a lyrical marvel, our destitutions in equal measure to our gains. “Cabaret” struck a chime in me that has reverberated through the years because the Bob Fosse choreography and John Kander/Fred Ebb libretto are performed where they would have been in reality – a nightclub – and given the prurience of the stage acts and the slovenliness of the patrons, a gloominess taints the love affair between Sally Bowles (Liza Minnelli) and Brian Roberts (Michael York) that impelled me to root for them.

Maybe this time, I’ll be lucky. Maybe this time, he’ll stay. Maybe this time, for the first time, love won’t hurry away. He will hold me fast. I’ll be home at last, not a loser anymore like the last time and the time before.

Such is the hope in Sally as she sings of a beginning with Brian. They meet as neighbors in the same building. She is burlesque entertainment. He is quill and scroll. She is street smart. He is Cambridge educated. The one factor that holds the two together is that they are both outsiders caught in a party where the curtain is about to descend. That it’s the wrong time for a relationship is also the reason that the time is right. Brian and Sally would never have connected under peaceful circumstances. They might never even have met. He is in Berlin to complete his doctorate, subsisting as an English tutor, while she has made the capital her home because Europe is kismet to an American libertine. The mating of the cerebral with the libidinous results in a romance that, amid the looming threat of the Third Reich, turns desperate: love today, for tomorrow could be too late.

Image courtesy of i.dailymail.co.uk

As foreign to my culture as “Cabaret” is, the movie possesses an immediacy that bespoke my desire to be an artist. I was already aware at 17 that convention was never to be my fate. I wished for Sally’s passion. When she takes to the spotlight, she belts out her soul. She fastens her stance with arms open and legs apart, as indestructible as a marble statue. Her boldness wallops every Joe and his whore at the Kit Kat Club. I saw my future. Go west, I thought. In conquering far-off regions as Sally does, l would assume center spot on the world stage, in works of my creation.

College in Boston brought me for my junior year to Paris, where during a course on the Weimar Republic, I spent a week in Berlin. Christopher Isherwood was part of the reading syllabus. Though I’m more a novel person, I was smitten by his tales of common folks in a boarding tenement, with small dreams and big disappointments. Berlin made a gorgeous backdrop. When I was there, the wall still existed. Buildings modeled after corporate headquarters in America’s financial hubs towered across the West. Brand names such as Sony and Maxell were plastered on their facades, floors above popsicle-bright awnings, and a throng milled about the avenues. In the East, people walked in uniformity; military officers patrolled the streets; edifices were colossal and industrial gray. Since the season was spring, the days were sunny and trees were in full bloom so that citizens from both sectors had reason to smile. And amid the modernity, Grecian columns and statues of winged horses affixed on palatial structures harked back to Germany’s imperial glory. Never mind that five decades separated me from the Berlin in “Cabaret.” I saw it everywhere, what Isherwood must have called inspiration.

IMG_0368-2Before “The Berlin Stories” was transcribed onto celluloid, it was the basis for a theater piece. “I Am a Camera” is Isherwood’s testimony of the artist’s obligation to humanity. We are the record keepers of our species, the eyes to history. Our notes and pirouettes, our sentences and images, are first-hand accounts of a moment without which future generations would never be. Some moments are honorable. Some are deplorable. All magnify life’s preciousness.

Put down the knitting, the book, and the broom. It’s time for a holiday. Life is a cabaret, old chum, so come to the cabaret. Come taste the wine. Come hear the band. Come blow your horn. Start celebrating. Right this way. Your table’s waiting.

These words sum up why we are on this earth – to have a ball. My foray into adulthood wasn’t easy. Love eluded me, and I couldn’t reconcile my body with the vision of the man I ached to be. Even so, I took my table, blew my horn, and spared no wine. Of this, I’ve got proof. In a photo of me in East Berlin, I am at the Altes Museum, posing with the statue of a nude Amazonian female head and shoulders taller than I. I am wearing a pair of jeans I had bought at a market in Paris. I had intended to bring the jeans on a school trip to the Soviet Union as a bartering tool since it was common for tourists to meet locals in their hotel lobbies with whom we could exchange a Western product for a Soviet item. Instead, I kept the jeans because I liked the fit. Now I laugh at how wrong the jeans were, loose and lengthy. And yet, the photograph captures something beautiful in me that I never saw in the mirror.

I am upright. I am self-assured. I am beaming. The future lies before me a horizon of white clouds reflected on windows and a door that opens to heaven, a home built on stories I have yet to write.

Image courtesy of dailyprayer.us

One Roof, One Sky (An Excerpt from “The Songstress of Manila”)

Celeste’s singing reached out to all of Ermita’s denizens. A trio of male hairdressers in floral-printed blouses shared a table close to the stage with the grocer who had sold Jezm her tissue paper. Bouncers to neighboring bars took their breaks here. The collar to their Polo-branded tees raised, they clinked bottles with the construction workers and janitors and bus drivers. Women at an open market that sold rattan baskets and utensils carved in narra wood that tourists loved, women who were mothers and wives, liked to refresh themselves with soft drinks at Cherry, eat roasted peanuts and chicharon that curled up like worms.

Image courtesy of images-amazon.com

Before long, Cherry was packed. Whatever her audience said on the streets about the Philippines either on the brink of a new era or on the verge of disaster by virtue of a housewife with presidential aspirations didn’t matter. So long as Celeste took to the stage, they were all one people, people of her lot, people who could very well have been Calinteños.

Such days were plenty, though they seemed to Celeste as one. The sun would flood into the open door, bounce off the wall-length mirror. The bar top and the ceiling beams and the ashtrays would glow. By the kitchen threshold opposite the entrance, an orchid was suspended in a tubular vase of paper thin glass. The orchid was an addition to Cherry that the Mama-san purchased with the money Celeste was bringing in. In the dim corner, its petals shone, wispy as the tail of a ghost.

Even on cloudy days, Celeste perceived brightness. On the stage, she could will Cherry to appear however she wanted and, with her music, claim the place as her own. She learned everyone’s name. She regarded her audience as sharing the same home as she, not under one roof but under one sky. Ermita was where loops of jeepney antennas and hearts painted on buses whizzed around them amid screeches and honks and cusses. Trash barrels and hubcaps shapeless as kneaded dough littered pavements. A movie billboard depicted Nora Aunor, Dolph Lundgren, and Eddie Murphy with lopsided noses and fleshy fingers painted in pinkish swirls.

Whenever Celeste opened her window in the morning, she thought of that billboard. It was not in her view… a graying white building with metal braces reinforcing one corner stood across from her… yet she saw the billboard as clearly as she did the new day. Ate Guy’s cheeks were more rouged than in life. The sun at high noon spilled atop the billboard, melted on Ate Guy’s forehead. But the eyes were unmistakably hers – penetrating and sorrowful. The billboard stood at an intersection that led Roxas Boulevard into Ermita. “Welcome to my world,” Ate Guy seemed to tell the incoming traffic, and in this world was Maria Celeste Solinas.

Image courtesy of www.noted.ph

Of all the people who came to call themselves Celeste’s “fans,” whose faces gleamed with sunlight and anticipation as Celeste took to the stage, one person touched Celeste the most. She was a flower girl whom Celeste guessed to be thirteen years old, in a lime dress that was too big. The skirt flared out like a lampshade. Sooty as her face and legs were, the dress endowed the girl with a freshness reminiscent to Celeste of mountain dew and rain-sprinkled leaves. The flowers, they were sampaguitas. Their white petals dotted a string necklace as beads to a rosary. They emanated a scent so potently sweet that it cut through the smell of sweat and musky cologne, fried fish and exhaust fumes.

The girl moved without a sound from table to table, raising a sampaguita necklace for purchase. She endeavored to look at each person in the eyes. Nobody returned her look.

Only Celeste met the girl’s eyes, when the girl was standing alone by the dangling orchid, a necklace raised towards her. Celeste knew those eyes. She saw Nora Aunor in the flower girl. And she saw herself. There the girl stood, transfixed. She seemed to have forgotten that she had walked into Cherry to sell sampaguitas. Could it be that she was looking up to Celeste the way Celeste looked up to Ate Guy?

Image courtesy of ssl-images-amazon.com

Faith can part oceans, hold a star, kiss the moon. Faith can melt cold hearts, heal wounds, bridge distance. Have faith in me ‘cuz I have faith in you. Far as I may be, my faith will be your strength as your faith is mine. Far as I may be.

Just like that, the girl was gone.

Celeste searched for the girl on the streets for days after. “Where are you from?” she wanted to ask. “Where are you going? What do you want?” With the neon lights off, Ermita was just another dusty district. Then again, not quite. Rent girls stood in doorways with their buttocks protruding from their shorts. Japanese and Australian and American men paraded the pavements, hand in hand with Filipinas. Some showed their appreciation of the Philippines by wearing short-sleeved barong tagalogs. Papa Solinas used to have a couple of those, a white one and a light blue one. He wore them on Sundays to mass. Celeste liked to run her fingers on the columnar embroidery from the shoulders to the hem. She wondered if she could do such needlework. No doubt the tourists got their barongs at an air-conditioned store, at a price Celeste would never bother with. Tesoro’s, maybe. Nobody made a barong tagalog look so good as her father had, though.

Foreigners decked in Filipino handicraft and who flaunted a Filipino girl, they were everywhere in Ermita, day and night. A lime dress on a thirteen-year-old girl should stand out, but no. Celeste discovered in her search how plentiful flower girls were, as well as newspaper boys and sweepstake ticket sellers and vendors hawking out of pushcarts salted preserved prunes and ice cream and nibble-on watermelon seeds. She also learned that the ebb and flow of laboring humanity came from all regions across the nation. They migrated to Manila in pursuit of economic advantages. By choice or by circumstance, they established their abode in Ermita. Some would stay. Some would journey onward. No matter their fate, they would find their way to Cherry. Celeste overheard folks urge one another to hear this new singer, a former maid from Forbes Park. They were saying that her voice was lovely, that her songs bespoke their feelings, their story.

Image courtesy of img.freepik.com

As Celeste took center stage, a quietude swept through the audience. She was achieving what she had expected – unity, admiration, beauty – and something more, something she had not counted on. She had seen it in the flower girl’s eyes. She detected flashes of it in the Mama-san’s eyes, in the eyes of Guido and even of Brioness, of everyone. This spell she cast on people, there was a name for it.

This was power.

Paris Love (An Excerpt from “My Wonder Years in Hollywood”)

We met at the Hotel Nikko gym, where Tristan Ledan worked as a weight training instructor. With his head shaved and a dimpled smile, he had a baby face on a pugilist’s body. Tristan’s uniform was a collared red tee shirt that marked him like a flame. I could see him from the corner of my eyes no matter where he was – at the window, in front of a white wall, reflected in a mirror. Against the view of the Eiffel Tower, amid the black and white nautilus machines, Tristan was a blot of red that seemed to appear from nowhere. He would be absent upon my arrival. Then in an instant, he’d be there. Since he was genial to everybody, I never gave his smiles a second thought.

Image courtesy of allpostersimages.com

Things changed the second semester. I was doing bench presses in front a mirrored wall, while he was beside me, guiding a man through push-ups. What a sight the two of them made. Tristan, in a squat position, flaunted muscular thighs bursting through his jogging pants. His client was heavy set and breathing weightily as perspiration dripped from his hair. Through the mirror, I was admiring the client his diligence. So languorous was Tristan in counting the push-ups that his client’s fatigue didn’t seem to faze him. “DixOnzeDouze…” – Tristan sounded as though he was singing a lullaby. Yet the client would not stop until he was told to stop. Even when his arms were about to buckle, even when his back was giving way, the client wanted more – more push-ups, more treadmill, more of anything that Tristan would instruct of him. When I had arrived half an hour earlier, the two were already in the midst of heir session, and it didn’t seem to be ending soon. I understood the man’s zeal. He had quite an image to emulate in Tristan.

I sat on the bench press, transfixed. In my mind I was cheering the client on. He was emanating so much energy that he fogged the mirror. Now he was clapping his hands in between each push-up. I couldn’t even do that. My reflection in the mirror gave evidence that I had come a long way since high school, since my arrival in Paris seven months earlier even. My acne had cleared, and though it left its trace, I was only glad that the pock marks were not of the moon crater variety. (Richard Burton had blemished skin and look at who he got to marry twice.)

Still, I had just turned 21. The me I was meant to be was a work in progress far from complete. I figured that if this man whose stomach bounced on the floor with each push-up could strive for perfection, then so could I. I had heard Tom Cruise isn’t tall, that he is my 5’7”, yet how tall and marvelous he looked in “Top Gun.” I may never look like Tom Cruise nor may I be as buffed as Tristan, but I decided right then that I could at least work with what I have as much as this man beside me was working his darned hardest.

All these good thoughts of a future me must have washed my face aglow because at that instant, in the mirror, Tristan darted his eyes at me and he smiled.

Après,” he mouthed.       

Huh? Afterwards? I pointed a finger at my chest and I mouthed, “Moi?

Tristan nodded.

I shrugged my shoulders. “Pourquoi?”

Tristan smiled roguishly.

I wanted answers: What time was après? Should I dare believe this to be a come on? Was this really happening?

Instead, I moved away from Tristan in order to avoid appearing eager. I dilly dallied with this dumbbell and that Nautilus machine. On a mat, I considered trying the hand clapping push-ups, then decided against it lest I prove myself a klutz. My concentration shot, I could hardly work out. Tristan’s session with his client could not end soon enough. I kept glancing at Tristan in the mirror, from the side of my eyes, across the weight room. He’d respond with a quick look and a nod. No doubt about it, the guy was flirting.

The client’s stepping into the locker room indicated that après had arrived. I followed him to get my things. Tristan went to the front desk across from the locker room, where he stepped into an employee room behind. He didn’t make eye contact with me, so I worried that he might have lost interest, until a few minutes later I saw him outside by the elevator, gym bag slung over his shoulder, downing protein juice and waiting.

Since I didn’t want to make the same mistake with Tristan that I had with Rick, I assessed the signs: for the whole of my first semester, Tristan had said nothing more to me than “bon jour,” “comment ca va?” and “a tout a l’heure”; I had responded with the likewise salutations of good morning and see you later as well as a “bien, merci” to his question regarding my well-being; he had smiled at me from time to time and I had smiled back; we were polite. Did he really mouth “afterwards” to me oh so seductively in French just a moment earlier? What was I getting myself into? And yet, Tristan was standing in front of me, an arm’s length away. He wasn’t smiling. He was grinning. Then he blinked… coyly. If this turned out to be another misreading on my part, then so be it. No pain, no gain.

Image courtesy of wordpress.com

Tristan asked me something. I gave him a blank look. Even after half a year in France, my French was iffy.

Parles lentement, s’il vous plais.” I told him to speak slowly, please.

Meanwhile, the French that incessantly played in my head as a broken record was the line from that silly disco song, “Lady Marmalade” – “Voulez vous coucher avec moi ce soir” – if only because the line is downright awkward. Vous is a formal term for the second person, used on an individual of age or rank or on a stranger. Of course, Tristan was a stranger, but we were going to have sex. (I hoped). Addressing him by vous would have been equivalent to calling him Mr. President. What exactly do the French say when they want to fuck?

Nous pouvons aller chez moi,” Tristan said. “Ehh… my place.”

“Yes,” I said. “I mean oui.”

That was all it took. After fumbling over French and English and umms and ahhs, all a man had to do was to invite the person over to his place. This wasn’t as blatant and gauche as “would you… sir, Mr. President… like to go to bed with me tonight?” but it expressed everything. Tristan and I had nothing more to say to each other.

The metro ride to Tristan’s place was a series of smiles peppered with questions of “quoi?” and “what?” over a comment on the gym, my schooling, and weekend activities. We were seated on a double passenger chair. Amid people who milled around us at each stop and the rolling of the wheels on the tracks, I wanted to ask why me. I wasn’t muscular. I wasn’t flirtatious. I had given no sign of interest nor of availability. Then again, why ruin an impulsive moment with self-analysis?

Tristan placed an arm around my shoulders, brought me closer to him. His down jacket was soft. His touch was hot. I traced a pink mark on the left side of his neck.

Marque de naissance,” he said.

I showed him my own birth mark. It was on the left side of my neck, too.

Nous sommes jumeaux.

I didn’t understand him, but I said oui. That was all everything we were doing from this point on required of me anyway – a yes.

Trees against a blue sky and glass towers juxtaposed with Victorian buildings passed in the window beside Tristan like shifting stage sets. Then we were underground again. As the metro stopped, Tristan said, “Nous sommes ici… Here, the two of us.”

The building Tristan lived in was a block away from the metro. It was one of those old Parisian dwellings with a cage elevator and a winding stair well, water stains on white walls and a frayed carpet. His studio was a mini-museum that displayed prints of Chagall and Van Gogh alongside Robert Doisneau and Brassai photographs. 1950s street shots of Parisian lovers locked in a kiss, the Arch of Triumph, and the Seine River mystic with street lights sparkling through mist sent me in a time warp. Reality blended with the dream of a starry night rendered in turbulent brush strokes and of amorphous figures of bulls and horses and people floating in space brilliantly colored. Tristan wasn’t just a beautiful looking man. He had a beautiful eye.

How exactly does he see me? “Tu est…” I simulated painterly brush strokes with my hands.

Peintre? Non.”      

Image courtesy of gstatic.com

So what did he do if he wasn’t a painter? Photo books of male physiques, tabloid magazines, and a pair of Sylvia Plath books filled a set of standing shelves. Beside that, Charlie Brown and Linus piggy banks decorated his desk on which lay an open journal. Frenetic penmanship left no space on the page. Elongated letters slanted right as though Tristan had been chasing after his thoughts, hurrying to record them before they vanished.

J’ecris,” Tristan said.

T’ecris quoi?

Rather than answering, Tristan kissed me. Or maybe the kiss was his answer. Maybe love and sex were what Tristan wrote about.

I closed my eyes. Suddenly, I forgot everything in the studio I had seen and everything I had been thinking. Tristan’s tongue alone reminded me that I was alive. Until that moment, I had understood a French kiss to involve placing the tongue in another person’s mouth and that was it. Tristan was tongue kissing my chin, my cheeks, my ears, my nose. This was more than a mere avalanche of lascivious kisses. The man was making love to my face. He was grinding his tongue so deep into me, sucking my face so hard, that I could hardly catch my breath. I was losing my footing. The two of us were standing in between the desk and the foot of the bed. He held me up and motioned me closer to the bed.

“Meow,” I heard.

“Mrrrrgrrrmm,” I grumbled. I couldn’t release my mouth from his. I struggled to talk. When finally our faces parted, I said, “Un chat?

From underneath the bed, a pair of blue eyes in a furry head the orange of a pimp suit gazed up at me. A feline Rick Vogt.

“Shit, I’m allergic to cats,” I said.

I don’t think Tristan understood. Even if he had, I doubt it would have mattered because it didn’t matter to me. Not at this point. I was on the verge of a divine discovery. We fell on the bed. I had never known flesh so soft that I could sink into it nor muscles so solid that they promised reliability.

The radiator rattled. Legs raised in the air. A car screeched outside. Heads thrashed against pillows.

We intertwined our limbs, desperately so, as if all the love in the world were to end upon midnight. Then Tristan stopped kissing me. He raised his head, gazed at the ceiling. He could have been watching a miracle rain down. Though our mouths were agape, we uttered no words. Our hefty breathing escalated into a cry. I didn’t even realize we were making such a raucous until Tristan clamped his hand on my mouth and diminished his own sounds into a grunt. But the humping of our hips didn’t stop. We picked up momentum. And then…

Our bodies stiffened. The energy pent up inside of us was too much to fight against. Life for an hour had been heat, speed, and friction. It was ending on a soft note of a moan and ebbing twitches of the groin.

Tristan fell by my side. He sighed and he laughed a laugh more an expression of delight than of humor. Exhausted as we were, our heart beats were racing.

“Water?” Tristan acted out drinking from a glass.

Non, merci.

During our bed pounding, the cat had moved to the desk chair. It was staring at me with lightning eyes. That was when I started to feel it – an itch on the arm and an itch on the neck. I sneezed.

Ca va bien?” asked Tristan.          

Oh, jolie cat, I thought. You are not making me feel well. Oui,” I said even so.

I didn’t stay the night. I didn’t even stay till midnight. Tristan slipped on a pair of boxers and sat on the edge of the bed. That was hardly an invitation, so I put on my clothes.

The first shimmers of the evening lit the window through the Venetian blinds. Van Gogh in a self-portrait above the bed looked sad.

Merci,” I said. “Merci beaucoup.”

Merci aussi.

Tristan didn’t offer his phone number. I didn’t know to ask. He hugged me, but he didn’t kiss. He hugged me for the last time ever.

Image courtesy of imagecache6.allposters.com

At the gym from that night on, Tristan was distant. I would walk up to him at the front desk or in the weight area and say hello, then stand tongue tied. No amount of schooling teaches a boy what to say and how to act in this situation. How I must have seemed to Tristan a begging urchin, far from the lovable lovelorn innocent that Audrey Hepburn’s Sabrina is. He hardly said much himself other than his usual salutations because he was always in a rush. He was hurrying to tend to a client or he was speed eating in the employee room. He was fast talking with his colleagues or he was sprinting out the door, to the elevator, and out of my sight. He’d wink at me sometimes, nothing more – never a moment to chat, never a look between us long enough to acknowledge having connected. Tristan and I may as well had gone out to have a drink rather than have sex. Indeed, that was all I had been – a fresh bottle of testosterone for him to quench a thirst. But had my nectar not tasted sweet? Had Tristan not said that we were… What was that word?

Jumeaux, Enzo informed me, means twins. In a way, Tristan was right. By taking me to his bed, he had initiated me into a brotherhood of fly by night flings, a fraternity that in its absence of women bypasses the convention of courtship and that sacrifices emotions. As a new member of the family, I needed to adapt to its customs. Within a month, Tristan and I reduced to acknowledging each other with a mere nod and then with nothing at all. Instead of allowing myself to dwell on heartache, I decided to sample the array of male delicacies that Paris provides. Love had to be hiding somewhere amid the play, like a cherry in a cream pie.

Gay men are available for the taking in the Marais district, once the domain of the Parisian aristocracy in the 19th century. Cushioned fold out chairs that match the color of the awnings, rainbow flags that deck doorways, and clothes along with glossy magazines in display windows framed purple, green, or blue give a splash of vibrancy to the cobblestones and palatial buildings murky in their staidness. The Marais has long ceased to be about protocol. The Marais has come to represent non-conformity. The ghosts of the nobility might disapprove, but on my first venture to a gay bar, I imagined the spirits of Honoré de Balzac’s courtesans sweeping the hems of their crinoline gowns against the floor in a waltz danced in rooms where men in Doc Martens and pierced ears today drink and fornicate. I might have hurt from Tristan’s avoidance of me, yet what I had gained from him far outweighed the pain. I was going to have the time of my life. I dressed like the guys I wanted – in baggy jeans, a logo tee, and my hair a crew cut – and what I wanted was a guy after the image of Rick or Tristan. I couldn’t forget Gavino Bellandini either, no matter that he was too darn godlike to be attainable. If a surprise such as Tristan Ledan was possible, then anything could happen.

That was the problem. I expected love to be instant and lust to be mutual. Although not everybody at Quetzal Bar fit my ideal, there were enough who did so that I was convinced that I was what they wanted, too. No. The chattering of men divided into groups reminded me of BAGLY. Only in this case, the groups never disbanded to form one large gathering of friends. Punk rockers stuck with punk rockers. Fashionistas stuck with fashionistas. Skin heads stuck with skin heads. I sat on a stool in front of a mirrored wall and kept company with a glass of soda water. That the end of my straw was producing gurgling sounds didn’t matter. Nobody heard.

Nevertheless, I didn’t lose hope. In my perseverance, subsequent outings to Quetzal didn’t amount to naught. Men would engage me in conversation, and occasionally, I’d meet a person whose handshake felt as though I had found a missing link.

There was the airport customs official who confided in me “J’aime les garcons Asiatiques.” In his flat, under dim red lights, he caressed my body as if it were a bronze sculpture. His hands were not large, but his touch was electrical. He was meaty on the stomach, but he was young and burly. As he waxed poetic on the Asian men who traveled through Charles de Gaulle Airport, his eyes lit up as if he were reciting a mantra.

Image courtesy of deviantart.net

I had a royalist, it’s true. His living quarter was as bare as a prison cell. Only an open drawer over which a shirt sleeve hung attested to a life within those four walls, as did his most prized possession: a scrap book containing postcard-image sketches of chateaus and castles once under the ownership of ancestors who had met their end at the guillotine. I didn’t understand his monologue on the merit of reviving the monarchy. I had never even been aware that royalists existed 200 years after the storming of the Bastille. Yet I had a sense of his frustration; Marcos supporters… or loyalists as they were called… were bent on usurping Corazon Aquino. Politics aside, the man knew how to wear a jock strap.

With the Moroccan medical student, my duplex was the play space. I didn’t dare bring him to my bed; a girly quilt would have killed the mood. We lay instead on the sofa in the living room. The Renaissance hunting scenes on cushions that depicted guns and horses on a mad chase after foxes were more conducive to our intentions. Predator or prey, he and I were each a bit of both, clawing at one another and biting. For extra income, the guy worked as a nude art model. “Regardes moi,” he’d say in the midst of making out. That was his kink – being watched as he struck sexy poses on the shag carpet.

Despite my numerous instances of two lives shared, my kisses with each man were more a hunger of the groin rather than an expression of the heart. Even so, the world became a smaller place. If men whose lives were never meant to converge could find a common bond in me, then love was possible with anybody, anywhere.

Gay establishments outside of my comfort zone of the Marais started calling to me. They were nearly as plentiful as movie theaters: Dance Club at Les Halles, where from railings on the second and third levels, I could watch potential mates on the dance floor; a porn video arcade at Pigalle, a neighborhood once home to Toulouse Lautrec; and Le Trap at St. Germain des Pres.

Le Trap. The bar was an oddity to stumble upon in a neighborhood of swanky boutiques and fine dining. While Quetzal radiated light and space, Le Trap was the nadir of darkness and sleaze. Its clientele was of the hyper-masculine type. Leather chaps and chains, tee shirts two sizes too small and jeans tight on the butt all seemed to have been lifted from the Al Pacino film “Cruising.” Just as the film depicts, the men were there for one reason alone, and it wasn’t love. The bar area was so small that body contact was inevitable. A spiral staircase led to a floor that was immersed in blackness. Blind as I was to the activities within, the sounds surging forth supplied the visuals for my imagination.

Curiosity had taken me to Le Trap. The place wasn’t to my liking. It was enticing and mysterious, no doubt, but I had not yet acquired the footing to stand alongside these giants. I stayed even then. It was May, the end of my year in Paris. To fulfill my mission for adventure, I needed to claim Le Trap as one more horizon explored.

No, Le Trap was not about love. I had searched for it in the cream pie that was Quetzal. I certainly had no expectations of finding it in this mud pit. For my one and only night there, I remained on the stairs, unavailable to the men at the bar below and the men in the backroom above. The sting of cigarette smoke in my nose, the sugary spirituous smell of liquor, and the heat from bodies joining were all I needed to be engaged in the reality of the moment. This would be enough of a memory.

Goodbye, Paris, I thought.

Footsteps clanked on the metal steps. Moans and groans thundered from the backroom. Guys kissed and groped in the bar.

I preoccupied myself with the mechanics of moving back to Tufts. Tomorrow I would buy boxes for my books. In a couple of weeks, I would disconnect my phone. I would be back in Boston before I knew it. Davilo had sent me a telegram asking to house with him and Owen. That was something to look forward to.

And right then, right beside me, the cherry in the cream pie materialized in the body of a tall, dark, and handsome Swede who spoke fluent English.

Image courtesy of cloudfront.net

“Flesh and the Devil”: The Sound of an Original

Image courtesy of m.media-amazon.com

“When the devil cannot reach us through the spirit, he creates a woman beautiful enough to reach us through the flesh.”

The temptress imputed above is Greta Garbo in the motion picture that catapulted her to international renown, “Flesh and the Devil” (1927). She is Felicitas, a countess who seduces to her boudoir a soldier on furlough by the name of Leo von Harden (John Gilbert). The tryst results in the death of Count von Rhaden (Marc McDermott) in a duel between husband and paramour. As Leo is recalled to duty, he promises Felicitas marriage upon the completion of his service, only for her to give her hand to his best friend, the irresistibly rich Ulrich von Eltz (Lars Hanson). Leo is pissed; however, not for long because no man is immune to the wiles of Garbo, and this puts him in the position of Judas to his childhood blood brother. “Aren’t you afraid of what she may do to you a second time?” the family pastor (George Fawcett) asks Leo, though not before his warning about Satan’s legerdemain to possess a man through the groin. Leo does not answer. He doesn’t care.

We, too, are speechless and in heat, no matter that it is now the 2010s. The media’s remembrance of Greta Garbo upon her passing in 1990, 49 years after she had renounced Hollywood to become history’s most famous recluse, already assured her place in the galaxy as an indestructible star. “She’s sexy,” a friend said with the excitement of a teen presented a Porsche. He was 40. “She has boobs.” I was in Paris for my second year, having returned after my junior year there followed by my final term back at Tufts University to get my degree. Since the French have a high regard of film actors as artists, the attention given to Garbo was such that she might as well had been a national hero. “Queen Christina” (1933) was the tribute film aired on TV and the one which caused Quito to gush. As the title character, Garbo in 17th century negligee, an Adrian creation of chiffon that silhouettes her mannequin lankiness, walks around a chamber, gazing at and caressing a bedpost, a spindle, a painting as if they were parts of a lover’s anatomy. “I’ve been memorizing this room. In the future, in my memory, I shall live a great deal in this room,” she sighs to the man (John Gilbert) to whom she has surrendered her heart. “How romantic,” Quito said.

Image courtesy of groupon.s3.amazonaws.com

The most iconic moment is the last, that close-up of Garbo as she stands at a ship’s aft, hair windswept, unflinching eyes focused on the distance. A bar in Paris had a wall of TV monitors featuring news announcements from different countries, in different languages, of Garbo’s death. All ended in synchronization to the actress’s image in the conclusion to “Queen Christina.” The camera adored her. The press in her heyday had nicknamed her “The Face.” The face aged splendidly. My French tutor said of Greta Garbo that she had a look recognizable in the present, be it on the street or on the metro, at the Champs Elysees or at the Garnier Opera. We were perusing a Garbo memorial issue of Elle magazine. Garbo in beret, Garbo in flapper hat, Garbo in a bob… in every photograph, the woman exuded the timelessness of style.

Nobody could have predicted during the making of “Flesh and the Devil” the legend the Swedish Sphinx would become. When she had arrived in Hollywood, MGM didn’t know what to do with her. Studio head, Louis B. Mayer, ordered her to lose weight, scolding, “In America, men don’t like fat women.” The publicity department then promoted her as the modern athletic female before tailoring her into the archetype that would be her trademark – a European exotic, one whose sculptural features and imperial carriage conjure the heroine of a 19th-century roman à clef, an ice princess, her façade turned to jelly in the heat of passion. This anachronism was a hit with audiences, and through the 1930s, on account of America’s need to escape the Depression, her heavy accent in talkies all the more captured a hankering for romance and chivalry.

Image courtesy of ursinus.edu

Jacqueline Kennedy would be a phenomenon three decades later for a similar reason. A rare bird fluent in French, her debutante and finishing school background anomalous to the average American, Mrs. Kennedy was initially considered a liability to her husband while on the campaign trail. But he won the presidency, and as first lady, she touched the public as youth and class personified, an ideal that young women could look up to and young men could hope for in a wife. No need for a European import. That Jackie was one of us made America believe that this land has its own monuments to parallel the Neuschwanstein Castle.

Now for a real anomaly that became a hit in America, there’s the wonder called Bruce Lee. He was Asian. He was short. He fought karate. And he became a superstar. As Kato in “The Green Hornet” TV series, he so upstaged his Caucasian co-star, Van Williams, that the big screen was inevitable, all of which showcased his mastery in the martial arts. With his flying fists and killer kicks, Lee singlehandedly destroyed pervasive Asian stereotypes of geek and pidgin English speaking Charlie Chan types who spout fortune cookie phrases. “Always be yourself,” he once said. “Express yourself. Have faith in yourself. Do not go out and look for a successful personality and duplicate it.”

Garbo and Jackie themselves lived by this creed, surmounting detractors to rise above the crowd as originals.

Image courtesy of pinimg.com

Here is another Bruce Lee dictum: “One does not accumulate but eliminate. It is not daily increase but daily decrease. The height of cultivation always runs to simplicity.” This sums up a large part of Greta Garbo’s enigma and that of Jacqueline Kennedy, as well. Garbo never attended any of her film premieres, granted few interviews, and eluded the paparazzi, donning dark glasses just as her first lady counterpart would later do, she whom Oleg Cassini, a former Hollywood couturier, dressed in clothes of pure lines and zero ornamentation to create the aura of a silent screen star. Neither woman is notorious for excess. On the contrary, their reticence and minimalism so piqued our imagination that we will forever wonder what they truly thought of themselves for all they had witnessed and experienced as crucial players in some of the 20th century’s defining events.

Sealed lips can certainly be a virtue. How often I have been told to refrain from loquaciousness. Readers would rather decipher the emotions transmitted in a story rather than to be told what to feel. It’s like love. Love can’t be forced on us. Love grows in the way a budding flower is nourished to bloom. This is why Greta Garbo is unforgettable. In a single blink she conveys love’s essence, and we are transfixed.

“On Her Majesty’s Secret Service”: Redemption in Time

Image courtesy of lacrossesymphony.org

Sean Connery, Roger Moore, Timothy Dalton, Pierce Brosnan, Daniel Craig… we all have our favorite James Bond. Biases can lean towards the Welshman who set the bar for grace under pressure while strapped to a gurney with a laser gun aimed at his crotch. Or we might be sentimental over the Brit formerly known as the Saint who traipses a Caribbean jungle, evading witch doctors and voodoo hexes, because he is the 007 our fathers introduced us to. And there’s the millennium star whom doubters first dismissed as James Blonde. In four films of the spy franchise, could he really have raised the bar by several notches? Notable, all. However, this is not the complete list. The one Bond frequently overlooked exposes his vulnerable side in what is perhaps the most challenging of his assignments, “On Her Majesty’s Secret Service” (1969). Our world savior does more than survive a snow avalanche and escape by seconds a villain’s lair, perched atop the Alps, on the verge of exploding. He loses the only woman for whom he abnegates his bachelorhood. He’s George Lazenby, a lover more than a playboy.

Image courtesy of blogspot.com

George Lazenby deserved more than one shot as James Bond. Pop lore has it Lazenby did such a diabolical job that he was fired. A friend of mine who was a teen when the actor made his debut is of this opinion. “He looks like an idiot,” Quito said. I was a student in Paris, and “On Her Majesty’s Secret Service” was rerun on TV. The image Quito was referencing had Lazenby in a squat position, aiming a knife at a human target, mouth firm and brow curled. Lazenby was more Kung Fu grasshopper, less Sean Connery. I might have tuned in to the movie till the end. I don’t remember, for although I would catch the latest Bond flick as it either screened in the cinema or was taped on betamax, I did so not because I was a fan but because it was the in thing, and whenever a Bond from the past aired on TV, I watched out of curiosity, though with no recollection afterwards of whether or not I had sat through the entire run. The plots, if any exist at all, are interchangeable, and as for characterization… forget it. James Bond is all posture and mindless adventure.

Not until Daniel Craig did I anticipate two hours of martinis shaken, not stirred, he who has made the character of Bond his own by infusing him with emotion. In “Casino Royale” (2006), the dude cries. When has Bond ever shed tears? Actually… hold on… 37 years earlier, he ended his tenure on her majesty’s secret service with a sob, and this on account of the same loss as his fair-haired successor – the love of his life. Had it not been for Craig, I would never have discovered this. My fandom of Craig compelled me to research the ranking of Bond films from worst to best. “On Her Majesty’s Secret Service” consistently has a spot in the top five, and one list places it in the number one position. The reason: it contains the singular element that would make “Casino Royale” a smash among audiences of the second millennium – a doomed romance.

Image courtesy of monexxbox.de

I decided to give George Lazenby another chance this past holiday season. Coupled with Diana Rigg as Countess Teresa “Tracy” di Vicenzo, the sole Bond girl in 63 years whom our hero takes to the altar, Lazenby adds a layer to the secret agent that is vacant in his predecessor. The best moments in “On Her Majesty’s Secret Service” are with her. A presence of pulchritude and depth, Tracy transcends ornamentation. The most stunning is the montage of she and Bond falling in love – a barefoot stroll on the beach, a horse ride, a promenade in a flower garden. It’s a Hallmark pastiche that is oh so heart melting because he is no ordinary man and she is no ordinary woman. And with Louis Armstrong providing the background music, we’ve got the brilliance of a diamond:

We have all the time in the world, time enough for life to unfold all the precious things love has in store. We have all the love in the world. If that’s all we have, you will find we need nothing more. Every step of the way will find us with the cares of the world far behind us. We have all the time in the world, just for love, nothing more, nothing less, only love.

In a 1970 interview, Lazenby speaks of the pressures to fill Sean Connery’s tuxedo. Director Peter R. Hunt instructed him to imitate Connery’s every nuance so that Lazenby met opposition in attempts to assert his own interpretation of the Ian Fleming creation. (He felt the spy should be humane instead of a cold killing machine.) An object of condescension for his lack of experience as an actor, he refused a seven-film Bond contract, and with heavyweights of the franchise perpetuating a reputation of him as difficult, he found no work in Hollywood after the release of the film that had initially opened a door to million-dollar opportunities. How death-like that must be, to have the world snatched from us when just a year earlier it had been offered as our castle. Lazenby did such a fine job, too. All that romancing humanizes a character usually portrayed as a feelingless fornicator.

Image courtesy of cdnds.net

If there is one characteristic for which Hunt and the producers could not criticize Lazenby, it is the panache with which the newbie carries the clothes. So many films emphasize women’s fashion. The Bond films are truly a man’s directory on the art of a suit. I myself had a white dinner jacket back in high school. I never wore it, until a chance came when I was awarded the gold medal for an oratory competition and was sent to Jakarta to represent the International School Manila (ISM) in a competition that involved all the International Schools in Southeast Asia. The subject I spoke on was nothing that pertained to the current events of the day. Never a politico, I am more facund on matters about life that novels impart – the futility of revenge, love, dignity in the face of defeat, philosophies that the heroes who populate the pages of Alexander Dumas live by, Dumas being the author who most resonated with me at 18. What a manly accomplishment it was, how Bond debonair talking of me, to have beaten half a dozen or so contestants in my high school, many of who were vocal in my history class about everything from Communism to Ronald Reagan. Those who had doubted me because of my silence as a student at once deemed my speech and my delivery of it as “excellent.”

Image courtesy of musthavemenus.com

In front of my parents’ bathroom mirror, I practiced my winning speech in preparation for my big turn in Jakarta, white dinner jacket on me paired with beige trousers purchased during the previous summer in New York. Black pants would have been too formal. The competition was a day affair. Day called for a light color, and my attire was the closest thing in my wardrobe to a cream suit, the kind James Bond wears the morning after his first night with Tracy. I rehearsed every pause, every drop of the voice upon a particular vowel, memorized every word. And what words they were, straight out of an SAT manual: perspicacious, pertinacious, supercalifragilisticexpialidocious…

I deserve to be up there, I thought in Jakarta. The final five orators were on center stage in an auditorium with every seat filled. I had not made it past the elimination process. Days earlier, the contestants had delivered their speeches in a classroom to a pair of judges. One judge commented that I was bombastic. That was enough to do me in. As I sat in the auditorium while a girl at the podium clasped her hands to the ceiling in imploring the audience to feed the children of Ethiopia, all I thought was that if she had a shot at the crown, then my strike out was more a matter of bad luck than of bad performance. White dinner jacket, so long.

Three years later, at the American College in Paris, I redeemed myself. In an oratory class, a girl handed me a note in which she wrote that whenever I speak, people’s jaws drop, and at the end of the semester, I was awarded the grand prize at an oratory competition. Such good fortune can happen to anyone. When it strokes a famous face, how the angels sing. Take George Lazenby. He never became a movie star. Nevertheless, the only instance he ever got our attention is in the James Bond installment that has increased in eminence over the course of time, and this in no small part because of him. Odd how things work out.

Image courtesy of scifi-movies.com

“A Streetcar Named Desire”: Forever Young

Image courtesy of bfi.org.uk

“You don’t see acting like that anymore, not nowadays,” my sister once marveled. She was speaking of Vivien Leigh’s performance as Blanche DuBois in “A Streetcar Named Desire” (1951). I was a senior in high school, while my sister had come home to Manila for a year after having graduated college in New York. The two of us with our mother would watch betamax tapes of studio era classics, and “A Streetcar Named Desire” was requisite viewing, masterpiece that it is. I have seen it on a few more occasions ever since. True to the movie’s stature, the fusion of story, star power, and talent grows more outstanding with each passing decade, a rarity among the CGI-generated spectacles of the second millennium, all produced for the consumption of an audience medicated on Adderall.

For those who have witnessed Marlon Brando as Stanley Kowalski melt the screen, he a creature of brawn, sweat, and swagger, you understand his effect on a young me as a beast that offsets an aging Southern belle. Blanche herself dubs him a “subhuman animal,” which is precisely what makes him irresistible. The way she scopes his torso as he throws off a perspiration-drenched tee speaks of a crippling desire. She can barely contain herself. “I was played out. You know what played out is? My youth was suddenly gone up the water-spout,” she cries when the truth of her leaving Mississippi for New Orleans to stay with sister, Stella (Kim Hunter), and Stella’s husband, Stanley, surfaces: a scandal that involved a minor. Back then, the ephebophilia went over my head. I was 17. Now…

Image courtesy of gstatic.com

“I’m at a strange age,” I told my friend, Wendy. “I don’t know whether to feel young or old.” I turn 49 this month, January. Withal back cramps and knee stiffness from hours of sitting sedentary in an office, I weight train four days a week, boast a full set of naturally black hair on my head, and walk with agility. I’ve been told that I could pass for my thirties, and compared to my contemporaries, I am a kid, wrinkles none. Although I’m flattered at the dismay folks express at my age, the inconsistency of my actual years to my appearance frustrates me. I sense I’m a fraud whenever guys I meet a decade or more my junior assume I am a contemporary. I don’t dare mention the truth. Sensitive as women on the subject, we gay men are insensitive on hook-up sites about our discrimination against mature men. (“Young guys only. You know who you are… No fats. No fems. No oldies…”) If I am young, it is to someone who is at minimum age a septuagenarian. To my statement that I feel like a dirty old man when eying a vicenarian, Wendy said, “You are.”

Image courtesty of coolwyn.com.au

Strange age, indeed. Take my gym buddy, Ed, who celebrates his birthday every October. Ed was born in 1966. He is 12 years his boyfriend’s senior, and based on the two years he and Julian have been dating, he swears that a generation gap need not be a factor for a couple in love. He also advises that I play around while I’ve still got the wares to catch a fellow’s eye. In other words, I am near the end of my shelf life. I’ve had a long run so far, one that far exceeds Blanche DuBois’s. Vivien Leigh was 35 when she starred in the stage production of “A Streetcar Named Desire” at London’s West End, 37 in the Hollywood film version. Since she was cast to play Tennessee Williams’s most troubled heroine, we can assume Blanche is within Leigh’s age range, and like Leigh, she remains lovely. A magnolia delicacy along with a flourish of the hand to recitations of poetry charm Mitch (Karl Malden). Mitch is unique among Stanley’s group of poker cads. He is urbane and complimentary, a gentleman in a fedora hat who courts Blanche with dinner, music, and flowers – the trappings of a perfect facade.

Blanche has been lying about her past and she’s been concealing her age. I may not have a shady history that needs a glossing over, but I am guilty of the latter. I used to quote my birth year at some years south so that I could be permitted into bars. Then I switched to quoting it at some years north. Now on certain online sites I block the information. So I have encounters with guys of the “like awesome like” generation. Once the moment is over, it is over. No harm done. A date, however, is something else. In this, I am no fabricator; I believe in honesty. The instant I sense a rapport, I declare that I’m in my late forties. Men have responded favorably, no matter that I don’t fall into the age criteria stipulated on their profiles. Herein is the irony: none of them might have rung my doorbell had I been upfront about being close to 50. Then again, they never asked, and because they never asked, I never told. That I should take the initiative to lay my cards on the table has garnered me points. If I had lost, it would have been worth the risk. Love is too fragile of a gift to be earned with a lie.

Image courtesy of fineartamerica.com

Blanche DuBois’s fate serves as a cautionary tale. Her deceptions chew her to threads and swallow her in one gulp like lion’s meat. What loneliness. What unfulfilled longings. The Southern belle of aristocratic lineage and exquisite beauty could have had it all. More tragic is Vivien Leigh’s own fate. The actress would later say that playing Blanche “tipped me over into madness.” She so identified with the role that in film projects that followed, she would slip into Blanche’s character and speak lines from the Tennessee Williams piece. She was institutionalized for schizophrenia and bipoliarism, during which she received electric shock treatments that scarred her temples, and with her marriage to Laurence Olivier having ended in divorce, she indulged in sexual relations with sailors and cab drivers, the kindness of strangers her only solace. (http://www.rafsy.com/films-2000s-present/begin-again-alone-on-a-pedestal/)

Of course, dirty old whatever is a matter of individual. For these couples, age takes the back seat to love: Humphrey Bogart (born in 1899) and Lauren Bacall (born in 1924); Carlo Ponti (born in 1912) and Sophia Loren (born in 1934); Robert Wolders (born in 1936) and Audrey Hepburn (born in 1929). They were together through ailment, separating only in death, and thus silenced skeptics on the pairing of naiveté and wisdom. Their counterparts today are Percy Gibson (born in 1965) and Joan Collins (born in 1933). “You go, girl,” was posted all over Facebook upon news of their nuptials. I admit that I didn’t think they would last. “She’s rich and famous. She can buy any young bloke she wants,” I posted to a friend. Collins and Gibson have been married 13 years. No fluke, those two. Now lest I forget, here’s a duo that lists as one of my favorites, Christopher Isherwood (born in 1904) and Don Bachardy (born in 1934). Slightly over 30 years apart, the author and the teen met at a Los Angeles beach party. Isherwood was 49. Bachardy was three months shy of his 19th birthday. The attraction was instantaneous, Bachardy would say in a documentary that chronicles the magnetism of their union, “Chris and Don: A Love Story” (2008). With one kiss, they embarked on a voyage that lasted over three decades.

The irony in “A Streetcar Named Desire” is that our heroine isn’t really that old nor would she ever be. She is immortal as Vivien Leigh at the zenith of the actress’s creative prowess, skin as incandescent as ever and eyes crystalline hypnotic, a candle that blazes the screen. “I don’t want realism,” Blanche says. “I want magic.” She achieves this, her deepest desire. As the cardinal force in a story that defies death, Blanche DuBois is forever young.

Image courtesy of wordpress.com

“Peggy Sue Got Married”: The Odyssey of a High School Reunion

Image courtesy of wantitall.co.za

To those apologetic for decisions made in high school, don’t be. The irreparability of time gone by aside, perhaps the decision was a wise move to our teen sensibilities. In “Peggy Sue Got Married” (1986), our title character (Kathleen Turner) sighs, “If only I knew then what I know now.” We’ve all uttered this invocation at some point, and it’s actually not a good idea. We form our life philosophy largely from having overcome past trials – break-ups, career ventures gone wrong, economic straits. For us to possess in our adolescence the sagacity of a person at 40-something, then we need to experience through our childhood the lows of adulthood. So long, Santa Claus.

What prompts Peggy Sue Kelcher’s uncertainty is the corner the woman is in. High school sweetheart turned husband, Charlie Bodell (Nicolas Cage), has allowed another woman (Ginger Taylor) to come between them. Divorce is in the offing, until Peggy Sue attends their 25th class reunion, where crowned homecoming queen, she faints, and upon regaining consciousness, she is transported back to 1960, the year she and Charlie were seniors. Full aware of their fate in 1985, she continuously snubs Charlie’s advances for a date. Yet date they ultimately do because she can no longer fight the rekindling of feelings for him.

Such is the durability of adolescence. As old as we become, high school leaves an ineffaceable imprint on us. Equally as wondrous is that those four years can grace us with an actual Peggy Sue. For me, she would be my friend Wendy, whom I’ve known for nearly 35 years, but never more so than when I recently assisted her on an essay for a scholarship towards a therapist certification. Wendy wrote of her upbringing under Chinese-Filipino parents, disciplinarians who enforced obedience and education. Until high school, she adhered to their rules. She attended Maryknoll, an all-girls Catholic school, which conditioned her on the conservative values of no boyfriend, no nights out, and no long nails. To this day the student body at Maryknoll is homogenous; the girls dress in uniforms that consist of a green skirt topped with a white shirt and paired with sensible black shoes; and since perms are prohibited, they wear their hair straight, an occasional clip or headband the sole item that individualizes them. Wendy transferred to the International School Manila (ISM) because her parents recognized the profit of a worldly education, one that they planned would culminate with their daughter attending college in the United States.

Image courtesy of thecultureist.com

Although Wendy wanted this future for herself, as well, ISM proved to be a culture shock. Classes are co-educational with students that hail from six continents, lending to an amalgamation of nationals, each with its own set of values. During Wendy’s and my enrollment there in the 1980s, uniforms were not the rule. Americans, who constituted a major part of the population, sported rock logo t-shirts and sneakers, while we Filipinos made for a pristine appearance in button-down Ralph Lauren and loafers. They were outspoken in the classroom, and couples were unabashed in corridors with their displays of affection, in contrast to us Filipinos, who are reared to acquiesce to authority and to whom sex is a silent matter. Even so, Wendy made friends fast; exposure to diversity stoked an outgoing nature. Then senior year, she got pregnant.

For a semester, I didn’t see Wendy or know of her whereabouts. Neither was I in the loop as to the reason for her absence. Because certain plans are immutable, she was able to graduate then proceed to the States, where she matriculated at Mills College in Oakland. I visited her during spring break my sophomore year at Tufts, and only then did she tell me she had a daughter. Over the years, I would learn of her estrangement from her parents in the months that led to the end of our days at ISM. In her essay she divulges the darkness of this period:

I am aware that teen pregnancy is rampant, but when it happens to you, you think only of yourself, and not in a selfish way either, rather with an anguish that eats at you as you wonder how the life that is forming in your womb will survive when you’re not even sure of how to survive tomorrow.

Image courtesy of solo.net

A baby in “Peggy Sue Got Married” compels Charlie to consider a future beyond a vocation in music. The girl he’s been chasing after has allowed him to knock her up. History should not be altered, Peggy Sue realizes, even when given the chance. Although she is too young to be a mother, she takes the leap yet again in order to have the child she so loves, and owing to the discernment of a 43-year-old with which she is able to relive the critical age of 18, she sees that nothing is ever hopeless.

We ourselves may not have the convenience of time travel, but we are endowed with the capacity for hindsight, and hindsight begets wisdom:

Vulnerable, I could have fallen into drugs, suffered from an eating disorder, lost myself to the temptations that seduce the young and the confused. No. I gave birth. My parents embraced my child. I went to college. As tear-ridden as that moment in my life was, I see it now as beautiful because of the woman I have evolved into as a result.

Image courtesy of wordpress.com

So reflects my friend, Wendy, on her 17-year-old self. As she and Peggy Sue exemplify, the past can also educate us about family and forgiveness. “Teenagers are weird, and you’re the weirdest,” Nancy (Sofia Coppola) says. Nancy is Peggy Sue’s little sister. She is 12, and she has reacted with revulsion at our heroine’s hug and profession of sibling love: “I really want us to be closer. I have enough unresolved relationships in my life.” Mom (Barbara Harris), dad (Don Murray), and everyone else in the Kelcher circle are just as confused as Nancy over Peggy Sue’s puppy excitement to be home on what to them is just another day and at her one-liners incongruous with a pubescent. (“I gave them (cigarettes) up years ago.”) We, however, follow Peggy Sue with a nostalgia that aches. She speaks for us all as she says to her mother, “Oh, Mom. I forgot you were ever so young.”

Peggy Sue isn’t the perfect daughter. She gets grounded. She insults her father for his purchase of a red and white Edsel. She teases her sister. The second time around, she is warm to all, well aware that this is an opportunity to avoid personal rifts before age deepens a grudge, especially with those who pass on early, and she does not hesitate to say sorry to those she wrongs. Neither is Peggy Sue hard on herself. She has made the right choice with Charlie, despite the disappointment that befalls them on the year of their silver wedding anniversary. The odyssey to the past has taught Peggy Sue that the future is not for regrets, but for making amends.

In her essay Wendy never once expresses the wish to have done matters differently. Even if she had taken other paths in high school, they would have led to trials of their own. The same goes for the rest of us. And so we espouse life, come what may, smarter than ever.

Image courtesy of filmlinc.com

“The Wings of the Dove”: When to Fight, When to Quit

Image courtesy of etsystatic.com

Milly Theale (Alison Elliott) has everything in her favor – youth, beauty, wealth, benevolence – except time. She is dying. She is also a pawn. It is the turn of the 20th century. The Industrial Revolution has witnessed an alliance between the old world and the new that is singular to its epoch: the marriage of European noblemen to American heiresses. Empires indestructible for centuries have crumbled to modernization, placing British blue bloods at the mercy of the tycoons of commerce. To preserve a lifestyle of transatlantic cruises and country manors, penurious royals offer titles to the likes of the Astors, Vanderbilts, and Whitneys in exchange for a dive into their coffers.

In “The Wings of the Dove” (1997), New York wows London society in the person of Milly. She’s given a chance at a ladyship when a lord (Alex Jennings) financially strapped requests a betrothal. Milly declines, for she is interested in another man, a journalist of charm but with no pedigree and who himself has an empty bank account. Merton Densher (Linus Roache) likes Milly, too. He even falls in love with her, which confounds matters. He’s supposed to be in love with Kate Croy (Helena Bonham Carter), the ward and niece to Aunt Maude (Charlotte Rampling), doyenne of the beau monde. He and Kate want to marry, only Aunt Maude disapproves of the match given his humble circumstance. Because a woman in love is resolute, Kate refuses to comply with her aunt. She devises a strategy to win Merton the grande dame’s consent, that Merton seduce Milly to include him in her will. This he does, and he and Kate get more than what they bargain for.

Flash forward a hundred years later. Times have changed. The criteria to be a member of the elite is in constant flux in the 21st century. Classes intermarry. Anybody has a chance at upward mobility. Hail to Kate Middleton, the commoner turned duchess and future queen of England. She joins ranks with movie stars, rock stars, and supermodels – the new breed of aristocracy – as tabloid material. The one factor sacrosanct through the periods is our stance as a warrior to be with the person we love. With this comes complexities as ancient as the first embrace: What sign do we look for to wield our sword? And if the beatings persist, at what point do we accept our loss?

Image courtesy of likecovers.com

A friend a few months ago asked me if I was being a “defeatist” in my pursuit of a bartender I had approached while he was at work. Although my response was no, Pablo’s use of the word defeatist reverberated with me. I never thought my wooing of Steve to be a battle, as a third party was not involved nor were elements conspiring to keep us apart. The question stated that Steve himself was the force I needed to overwhelm. Pablo had reason for this. I had been agog over my first conversation with Steve. He would hold me by the wrists and give an inviting blink. He also related to my literary inclination. Science fiction is his genre. Aliens, he explained, embody a disconnection that we all sometimes feel as strangers in the midst of a crowd. “I’m really a loner,” Steve said – another commonality between us; he spends his days reading kindle. And then, “I wrote part of a novel in high school.”

That Steve referenced a project at a phase in his life that for me was 34 years ago made me gulp. High school can’t be too far away for him, I thought. The man was born in 1985. While he was in his cradle, I fretted over my college acceptances. But it was a promising first conversation, and one overdue. I had been noticing him for two years at the gym. Approximately my height (5’7”) with the physique of a wrestler, dark hair and eyes and a sturdy nose complimented by a pair of glasses, he’s a little bit geek, a little bit jock, and one hundred percent sexy. The night I had the guts to introduce myself, he was in a pair of tight briefs, his uniform at 440 Castro every Monday, that being underwear night. On this occasion red was his color of choice. The green signal to test my luck had occurred at the gym a few weeks earlier. Steve gave me a prolonged look as he walked across the weight area. Our eyes met, and they remained connected for much more than a second. I was aware of where he works because I would use the men’s room at 440 Castro before hopping onto the underground MUNI for home. To pacify my nerves that Monday, I reasoned that as a bartender, he has to be cordial, clumsy with conversation should I be; cordiality is the nature of his job.

Image courtesy of pinimg.com

Me: I see you at the gym often. I’ve always wanted to introduce myself. I’m Raf.

Steve: Yeah, I see you around, too. Steve.

Me: I always come here to use the restroom. Don’t worry. I’m not stalking you. Only a little.

Steve: (laughter)

Jackpot! Whatever the cons I perceived to a connection gave way to rationale in the course of an hour. First of all, age. I could allow the wide gap in our years to be a factor and thus ignore him. Even then, Steve and I would continue to exist, so we may as well exist together, even as pals (with benefits). As for his being a bartender, which another friend would later say could be cause for incompatibility to my profession of writer and educator, I defended Steve on account of his youth, that he’s in the beginning stage of his journey as a man. However, none of this is the reason for my so-called defeatism. As promising as our introductory words were, Steve was polite a week later when I returned for another go, and that was it. The third meeting was even worse. It was a blunder. I sat on a bar stool, silent and ill at ease as a dunce in a corner, while Steve darted from one end of the counter to the other, mixing drinks and flashing smiles at customers, paired with a few amicable words. Then I ran into Pablo on the street near 440 Castro a few days afterwards.

Image courtesy of pinimg.com

Kate Croy avows that she would do anything and everything for Merton. This is what convinces the man to use Milly. The intimacy that develops between the two permits Milly a share of life’s treasures outside of her gilded cage, and as Merton becomes ever more entrenched in Kate’s scheme, he gives Kate an ultimatum, that she accepts him as he is, nameless and moneyless. The heiress must be set free, a pawn no more. “No,” I told Pablo. I could not possibly be ceding to defeat because this attraction to Steve isn’t love. Where then is my battle? Love is the kiss of destiny between Kate and Merton. Love is Milly coming to life when Merton enters a room. Love is Merton seeing Milly for the beauty of her soul.

Still, Pablo could have a point. Talking to a guy while he’s at work isn’t conducive to discovering the potential mate in him, what more when the place is a gay bar, distractions galore – drinks, men, music, men, erotic videos, men, and more men. “Ask if he’d be up to doing something social. An art gallery opening. A picnic,” Pablo said. To every suggestion, I responded that I didn’t sense any chemistry on Steve’s part, that courtship should not be this hard. The prolonged look, the holding of my wrist, the blinks as if Steve were smooching me with his eyes… they might have meant nothing or they might have meant something, be it for a moment, which itself poses a brain-twister. That one moment should give me a mission to fight for. Love could be in hiding. Never mind the things I told Steve at the gym in the months following my dunce night, things that have caused me to bite my tongue since I imagine he reacted with a roll of the eyes. (“You look tired… You seem sad…”) He did check me out one Monday at 440 Castro when I stripped down to my undies, and he really doesn’t know me. I am still a story he has yet to read. It doesn’t hurt that Steve might find me physically attractive either.

“The Wings of the Dove” is high drama about high stakes, a tale of conventions now obsolete. Then again, not wholly. I’m a simple man, and Steve is simply a bartender… yet how tangled my situation. Whatever it is that rouses the heart to palpitate, it never goes out of style.

Image courtesy of etsystatic.com

 

“Passion of Love”: A Burning Heart

Image courtesy of wallpaperswide.com

I wonder about women of a certain age in a country such as the Philippines, where people swear by the dogmas of tradition, who have never married, what their history is, what loves and passions might have torn them apart. My family had a cook named Lita. She was in her fifties and had been with us for close to 25 years when she suffered a stroke while in her sleep. She couldn’t speak upon awaking, and paralysis incapacitated her. The medic who tended to Lita informed my parents that had he arrived a minute later, she would have died. An operation was performed, followed by months of rehabilitation. This was a year and a half ago. Lita is now able to walk with a cane, although her speech remains impaired, and she is no longer under our employment. She is back in her hometown. The other housekeepers maintain contact with Lita. They tell my mother that her brother, who is meant to be her caregiver, is never present except to leech off her for money. “Does she have anybody with her?” I asked Cory, our current cook, over Christmas last month. “No,” she said. “So she’s lonely,” I said.

Image courtesy of flickr.com

Yet Lita doesn’t let on about her difficulties. During her recovery, the maids were impressed by her resilience. “She pushes herself to get better,” they told me. When in San Francisco I had first heard of her stroke, I questioned what my outlook on the future would be had I been in her situation (would I will to live or would I choose to pull the plug?), and then I lamented that she would no longer accompany my mother on my mother’s visits. Still, her presence remains. Lita is a little woman, thin as a whippet with a black bob that frames a sallow face and hands made sturdy from years of grooming the kitchen into her dominion. Despite my mother’s and my prodding, she would prefer to stay in the condo rather than to tour the city, busying herself if not with our meals then with the laundry and other errands. On her downtime, she read Tagalog romance paperbacks. A cousin came to stay with us once, and she said to me, “Lita has a ring on her finger. I’m afraid to ask about it. It could be a sad story.”

If a sad story were linked to Lita’s ring, then it would be one, I imagine, on a cinematic scope. A woman hungry for affection, frail, secluded… a heroine of such a description exists in Fosca (Valeria D’Obici). The film is “Passion of Love” (1981), set in 1860s Italy, in a provincial castle that serves as a military outpost. There Captain Giorgio Bacchetti (Bernard Giraudeau) has been stationed. His dispatchment separates him from Clara (Laura Antonelli), his girlfriend in Milan, a woman beautiful in the classic sense of the word – angelic lips, elegant in form and demeanor, soft spoken – a contrast to Fosca, who is sickly and brusque. Under the care of her cousin, the colonel (Massimo Girotti), Fosca lives in the castle. Giorgio learns of her residency upon hearing her cough echo through the halls. Curiosity results in a meeting, and while he is appalled by Fosca’s appearance, he learns she has a poetic vision of love. She lives vicariously through romance novels, for although she was once a wife, it was to a count who had duped her into marriage only so that he could skedaddle with her dowry. Now Fosca wants Giorgio. He doesn’t want her, yet how persistent and near she is, and how increasingly far Clara grows and difficult, besides; Clara is married and mother to a young boy.

Image courtesy of gstatic.com

Melodrama feeds the soul. We might consider ourselves above the violins, too sophisticated to accede to the contrivances of emotion. For all our snobbery, we can’t deny that tears and kisses have their value; love is our first introduction to life. I shouldn’t be surprised, therefore, that Lita should be on the par of Fosca in her consumption of epic romances, albeit those penned by pulp authors and not by Jean-Jacques Rousseau. Whatever the literary caliber, love stories serve a primary purpose. So potent is the appeal of melodrama that even Stephen Sondheim, a man of refined culture if there ever is one, created “Passion,” a musical based upon “Passion of Love,” lavish with wondrous declarations of devotement, many of which come from Fosca’s lips:

For now I’m seeing love like none I’ve ever known, a love as pure as breath, as permanent as death, implacable as stone, a love that, like a knife, has cut into a life I wanted left alone… Loving you is not a choice, it’s who I am… I do not read to think. I do not read to learn. I do not read to search for truth. I know the truth. The truth is hardly what I need. I read to dream…

Image courtesy of movieposter.com

To dream. I’m on the same page as Foscsa. I dare say that Lita is, too. I don’t seek answers in films and books to questions about our journey on earth; rather, films and books are semblances of the lessons in life to which I am already a student. Whatever wisdom I gain, I will do so in reality. Not yet knowing what soul-stirring events I will experience is what gives birth to dreams, and “Passion of Love” is one story that insinuates no dream is improbable, which is what attributes Fosca her authority. She is a pestilence to Giorgio – omnipresent, tiresome, noxious. She is aware of this. Despite her apologies and endeavors at keeping her distance, the intensity of all that she is lingers in the air, infiltrates Giorgio’s thoughts, so that much about the invalid that the captain initially considers a nuisance causes a reversal in his feelings for her.

Love can happen to anyone. We know this. Even so, the questions we confront are ceaseless, riddles for every generation: What triggers love? What is it about a person that excites passion? Why do some of us grow old in solitude? Some years ago I watched a woman on TV talk about her son, a kid between seven and ten with burn scars that deformed his face. She recounted an incident at a restaurant, where the boy noticed seated a few tables away a man and a woman intimate the way lovers are. He turned to his mother and asked, “I’m not going to have that, am I?” Sincerity glistened his mother’s eyes as his mother repeated her answer to the viewers, that people will not always be kind to him, kind as he himself may be, but somewhere, somehow, someone will see beneath the surface all the good that he is; therein love will flourish.

These are hopeful words, neither delusional nor pandering. Dreams and hope go hand in hand. They’re a necessity as much as the air we breathe, the foundations of a future. So some of us may never marry. That doesn’t mean our hearts are dormant.

Image courtesy of pinimg.com