Beyond the Canon: Funeral Parade of Roses + The Crying Game

By Willow Maclay

the item can be no secret that will the cinema canon has historically skewed toward lionizing the white, male auteur. Beyond the Canon can be a monthly series that will seeks to question that will history as well as also broaden horizons by pairing one much-loved, highly regarded, canonized classic that has a thematically or stylistically-related—as well as also equally brilliant—work by a filmmaker traditionally excluded via that will discussion. This specific month’s double feature pairs Toshio Matsumoto’s Funeral Parade of Roses (1969) with Neil Jordan’s The Crying Game (1992) on Sat, Feb 16 at 4:15pm.

As a cinematic idea the beautiful, seductive, transgender woman can be a subversive contradiction of social as well as also political mores. In cinema, the place of transgender women can be usually confined to the occupation of corpses, sex workers or the butt of a joke, with the latter two funneling back into that will central position of a dead body. To suggest that will trans women hold any different position within the political sphere of cinema can be to argue that will trans women are worthy of being human, which can be an idea that will to This specific day still seems radical. In The Crying Game as well as also Funeral Parade of Roses transgender women do not die. They’re femme-fatales, punks, weirdos as well as also rebels as well as also they look damn Great the entire time.

Funeral Parade of Roses as well as also The Crying Game both go to great lengths to introduce their trans as well as also gender non-conforming characters as fixations of beauty. The stunning black as well as also white photography in Roses introduces Eddie, played by Japanese super-star queen Peter, a character loosely based on Oedipus Rex, within the throes of sexual intercourse. The camera glides up her body as she’s being ravished by her lover. The camera catches her face in extreme close-up bursting with orgasm as well as also has the guts to say This specific person’s body can be not only worthy of love, nevertheless desirable as well. In The Crying Game, Jaye Davidson’s Dil can be given full star treatment that has a scene eerily similar to Lady Gaga’s introduction within the most recent incarnation of A Star can be Born. Dil sings a song bearing the same name as the film at a gay bar, as well as also Fergus, played by Stephen Rea, has tracked her down in order to tell her that will her former boyfriend has passed away. within the dimly lit, smoke as well as also haze of a queer joint Fegus can be transfixed. Dil can be tall, statuesque, as well as also has beautiful curling hair that will cascades over her shoulder like puffy ringlets of chocolate. The camera mostly stares at Dil, because Fergus can be too. You can’t look away. She’s a star.

The irony of both Peter as well as also Jaye Davidson being positioned as beautiful transgender women can be that will in reality they aren’t transgender women, nevertheless instead played by androgynous cisgender men, which tangles as well as also knots our perception of gender even further. In these films gender can be something that will morphs as well as also contradicts societal notions of men as well as also women into something altogether more complicated as well as also evolutionary. This specific can be especially true in Funeral Parade of Roses, which mirrors the breaking down of gendered perception through the destruction of cinematic form.

The Crying Game (1992) courtesy of Photofest

well-known conceptions of cinematic form, in terms of narrative dexterity, camera movement, as well as also the type of bodies that will are prized frequently leave minority classes of people on the outside looking in. To correct This specific, we have to create our own language as well as also a film like Funeral Parade of Roses does This specific by lighting a metaphorical Molotov cocktail as well as also hurling the item on top of cinematic forms of histories past.

This specific can be a film which barely incorporates a narrative as well as also instead mixes surrealism, documentary as well as also near pornography into one fluid, moving beast of gendered transgressions. There can be space for characters to not have answers as to why they want to be “queens” in documentary talking head segments, which bend the reality as well as also fiction of the movie. This specific can be a restless form, which clearly indicates that will to reach toward a transgender cinematic there has to be a consideration of how violent as well as also stagnant the internal machinations of transgender women actually are. When you attempt to live your own life as well as also express your identity in a society as well as also a political sphere that will by as well as also large wants you dead how do you cope? as well as also how do you come to terms with the limitations of your own body in meeting the desires of your own flesh? In Funeral Parade of Roses there are no real answers to these questions, nevertheless these problems are at least recognized as well as also wilfully commented on instead of the typical mode of transgender representation in cinema at large, which can be usually relegated to carnival theatrics. All that will being said, This specific can be an invisible representation. These lead characters you are looking at are still men, as well as also we’re still not on the screen. Can a ghost ever be given flesh?

Join us for Beyond the Canon on Sat, Feb 16 at 4:30pm

Willow Maclay can be a freelance writer as well as also film critic living in Canada. She has written for outlets such as The Village Voice as well as also Ebert Voices as well as also can be co-author of the upcoming book Corpses, Fools as well as also Monsters: An Examination of Transgender Cinema.

Funeral Parade of Roses (1969) courtesy of Arbelos Films, The Crying Game (1992), courtesy of Photofest

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Beyond the Canon: Funeral Parade of Roses + The Crying Game

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