With the exception of Maurice's Jamal's soon-to-be-released independent feature Dirty Landry—which we profile in the next (?) issue of The Advocate—the cinematic landscape for black gay men has been practically barren. "It’s barely a landscape," notes veteran television producer Kevin E. Taylor at a comprehensive new analysis at Logo-owned After Elton. "It’s a window garden at best."
The editors After Elton asked us to survey and analyze the more important roles for black gay men and Latinos on the big screen. The piece went live last last week and has caused a strong buzz in comments and across the e-telligentsia. Was Brother to Brother more important than Patrik-Ian Polk's PUNKS? Should Isaiah's role in Get On on the Bus be reevaluated give recent developments? Rev Kev, director Maurice Jamal and critics such as Keith Boykin ,J. Brotherove, and author Fred Smith express cautious optimism.
On the other hand, several Latino voices say they have even fewer choice and are largely unimpressed with their portrayals in Hollywood, including the well-received Quinceañera, seen above. "There are actually very few instances where Latino gay life has been depicted in American film,” says Andrés Duque, the well-known New York City-based advocate for Latino LGBT issues at Blabbeando, Repoter and novelist Johhnny Diaz and poet Emanuel Xavier agree, saying some of the most complex portrayals of Latino gay men are seen in Spain and Almodóvar movies. “It's interesting that countries supposedly plagued by religion are putting out the most provocative cinema [for gay Latino roles]," adds Xavier.
After Elton's Breakthrough Black and Latino Roles on the Big Screen is easy to read, but, clocks in at some five jump pages. Grab your morning coffee (or two) and enjoy the article. It's important issue and thankfully is getting some much-needed recognition.
More After Elton HERE.