The Living End (film)

Last updated
The Living End
The Living End (poster).jpg
Theatrical release poster
Directed by Gregg Araki
Written byGregg Araki
Produced byJon Gerrans
Marcus Hu
Jim Stark
Starring
CinematographyGregg Araki
Edited byGregg Araki
Music byCole Coonce
Sascha Konietzko
Production
companies
Distributed by Cineplex Odeon Films
Release date
  • August 21, 1992 (1992-08-21)
Running time
84 minutes [1]
CountryUnited States
LanguageEnglish
Budget$22,769
Box office$692,585 [2]

The Living End is a 1992 American comedy-drama film by Gregg Araki. Described by some critics as a "gay Thelma & Louise ," the film is an early entry in the New Queer Cinema genre. The Living End was nominated for a Grand Jury Prize at the Sundance Film Festival in 1992.

Contents

Plot

Luke is a restless and reckless drifter and Jon is a relatively timid and pessimistic film critic. Both are gay and HIV positive. After an unconventional meeting, and after Luke kills a homophobic police officer, they go on a road trip with the motto "Fuck everything."

Cast

Music

The film's soundtrack is mostly industrial, post punk and shoegaze music. Many references to bands and their members are made throughout the film. Joy Division's Ian Curtis is mentioned, along with Dead Can Dance, Echo & the Bunnymen and others. A Nine Inch Nails sticker is on the dashboard of Jon's car. The film's title comes from a song by The Jesus and Mary Chain, and a cover version of the JAMC song is performed by Wax Trax! Records artists Braindead Soundmachine during the film's credits. Early in the movie, Luke is seen wearing a JAMC shirt.

The film features music by the industrial bands Coil, KMFDM, and Braindead Soundmachine. [3] Braindead Soundmachine guitarist Cole Coonce is credited with scoring the film's original music.

Themes

Death

Released amidst the AIDS epidemic of the 1980s and 1990s, the movie positions itself within the public discourses circulating at this time in the United States of America that being HIV-positive is being sentenced to death. [4] Robert Mills states that the movie release in 1992 was also “the year that AIDS officially became the number one cause of death for US men aged 25-44.” [5] Considering this context, death is portrayed in different ways throughout the movie and represents what was felt by gay men. These same people who were “harshly blamed for the spread of the virus. At the same time, the institutions of the society were negligent of the thousands of people who were dying of the disease.” [6]

For Jon’s character, his recent diagnosis of HIV comes as a shock, and is accompanied by his fear and denial. Meeting Luke’s character, the weight that Jon’s news holds for him can be seen as he struggles to find the words to tell Luke that he is HIV-positive. Luke’s character receives this uneasiness by reassuring Jon that he knows what was going to be disclosed and that it is “no big deal”. Luke even goes to say “welcome to the club” revealing that he is also HIV-positive. For Luke’s character, he has come to terms with his HIV health status and adopts his reckless behaviour accordingly. Seeing death through Luke’s eyes, he holds a greater importance for living in the moment, love, and sex. Luke brings a sense of freedom to this pair’s shared newfound health status which is seen through the “provocative images of bareback gay sex, blowjobs behind the steering wheel, S&M, and related phenomena not frequently seen up to that point in U.S cinema.” [7]

Death is a looming theme throughout the movie and the plot naturally unfolds because of it. Whether it be Jon and Luke’s relationship in their shared death from AIDS to the assaults and murders of Luke which are continuously followed by the duo driving away in their car to escape the consequences. Even at the climax of the movie, it is understood and seen that death is waiting for them yet the movie ends with them escaping from it once again.

Nihilism

B. Ruby Rich describes the main characters as “one bored and one full of rage, both of them with nothing to lose." [8] The despair felt in the face of death from AIDS coincides with the nihilistic ideas brought on by Luke. The mottos and graffities shared throughout the movie illustrate his thoughts of “fuck the world”, “I blame society”, “fuck the system”, “fuck the police” and “fuck everything”. Without a doubt, these messages all come in response to the movie’s production in the United States political context where gay men were being bashed and shamed for starting the AIDS epidemic. Jon, Luke, and the queer community at large, already faced discrimination for their sexual orientation, but now, also for their HIV-positive health status.

Luke’s hedonism progressively becomes adopted by Jon through their relationship and understanding of each other’s situation. By means of their car, they “aren’t distracted by preachy morality, but are guided by a carpe diem philosophy in their nihilistic situation where they wield guns, extinguish their enemies, hit the road, and have unsafe sex.” [9] The movie makes use of scenes with humour and joy demonstrating that there can still be life despite the presumed death from AIDS. For Michael D. Klemm, “most of the love scenes between Jon and Luke are as tender as they are steamy (and they were the most explicit male love scenes I’d ever seen at that point) and their love story is often quite touching.” [10] This film makes its mark in New Queer Cinema as it expands the representations of gay men to go beyond the first decade of the AIDS epidemic. A time when television and the media “consistently pathologized and demonized gay men as ‘AIDS killers.’ ” [4]

Violence

“Cinematic violence, for Araki, is used to combat the widespread labelling of people with AIDS as parasitic victims, an association that was ‘emphatically rejected’ by both support groups and political activists throughout the epidemic.” [5] Luke’s character channels the built-up anger and frustration of queer communities who were victimized and villainized by the same American government that ostracized them and disregarded the illness. There is even explicit mention of violence against politics and for activism. Luke suggests going to Washington and shooting Bush in the head or “better yet hold him at gunpoint and inject him with our blood”. This scene speaks to the impending death by AIDS that both gay male characters live with and brings the injustice that there would be research for a cure or aid if the president himself had HIV. [10] It also can serve as a comparison that the death which they face is worse than a gunshot because it is slow and painful, both psychologically and physically, whereas death by a gunshot is often quick and fatal.

The use of a gun by Luke is seen in almost every violent scene in the movie. At once, he uses it as a way to become powerful against authority figures and assault homophobic police and gay-bashers. Moreover, the gun can symbolize the epidemic of AIDS as not being exclusively associated to gay men. In fact, Gregg Araki brings this idea as he “makes use of a specific form of disembodied, withdrawn violence in order to disassociate this act from the connotations of contagion attached to queer bodies throughout popular historical discourse.” [5] In one scene, Araki’s conscious choice of cinematography and focus on the men being shot by Luke’s gun even works to “emphasize the source of violence as being external to the body of the person with AIDS." [5] In short, The Living End’s representations of violence seek to deconstruct the preconceived ideas that AIDS, its epidemic, and death tolls, are uniquely linked to gay men.

Reception

On the review aggregator website Rotten Tomatoes , 67% of 9 critics' reviews are positive, with an average rating of 6.8/10. [11] Metacritic , which uses a weighted average , assigned the film a score of 65 out of 100, based on 15 critics, indicating "generally favorable" reviews. [12]

Janet Maslin of The New York Times found The Living End to be "a candid, freewheeling road movie" with "the power of honesty and originality, as well as the weight of legitimate frustration. Miraculously, it also has a buoyant, mischievous spirit that transcends any hint of gloom." She praised Araki for his solid grasp on his lead characters' plight and for not trivializing it or inventing an easy ending. [13] Conversely, Rita Kempley for The Washington Post called the film pretentious and Araki a "cinematic poseur" along the lines of Jean-Luc Godard and Andy Warhol. The Living End, she concluded, "is mostly annoying". [14] Rolling Stone's Peter Travers found The Living End a "savagely funny, sexy and grieving cry" made more heart-rending by "Hollywood's gutless fear of AIDS movies". [15] The Star Observer praised the movie, calling it "a vicious punch in the guts that leaves you uncomfortably winded and unforgettably moved". [16]

In a letter (dated September 25, 1992) to playwright Robert Patrick, LGBT writer and actor Quentin Crisp called the film "dreadful." [17]

Related Research Articles

<span class="mw-page-title-main">HIV/AIDS in the United States</span> HIV/AIDS epidemic in the United States

The AIDS epidemic, caused by HIV, found its way to the United States between the 1970s and 1980s, but was first noticed after doctors discovered clusters of Kaposi's sarcoma and pneumocystis pneumonia in homosexual men in Los Angeles, New York City, and San Francisco in 1981. Treatment of HIV/AIDS is primarily via the use of multiple antiretroviral drugs, and education programs to help people avoid infection.

<span class="mw-page-title-main">Gregg Araki</span> American film director

Gregg Araki is an American filmmaker. He is noted for his heavy involvement with the New Queer Cinema movement. His film Kaboom (2010) was the first winner of the Cannes Film Festival Queer Palm.

<i>Zero Patience</i> 1993 musical Canadian film by John Greyson

Zero Patience is a 1993 Canadian musical film written and directed by John Greyson. The film examines and refutes the urban legend of the alleged introduction of HIV to North America by a single individual, Gaëtan Dugas. Dugas, better known as Patient Zero, was the target of blame in the popular imagination in the 1980's in large measure because of Randy Shilts's American television film docudrama, And the Band Played On (1987), a history of the early days of the AIDS epidemic. Zero Patience tells its story against the backdrop of a romance between a time-displaced Sir Richard Francis Burton and the ghost of "Zero".

"New queer cinema" is a term first coined by the academic B. Ruby Rich in Sight & Sound magazine in 1992 to define and describe a movement in queer-themed independent filmmaking in the early 1990s.

<span class="mw-page-title-main">Gay men</span> Men attracted to other men

Gay men are male homosexuals. Some bisexual and homoromantic men may dually identify as gay, and a number of gay men also identify as queer. Historic terminology for gay men has included inverts and uranians.

<i>The Doom Generation</i> 1995 film

The Doom Generation is a 1995 independent black comedy thriller film co-produced, co-edited, written and directed by Gregg Araki, and starring Rose McGowan, James Duval and Jonathan Schaech. The plot follows two troubled teenage lovers who pick up an adolescent drifter and embark on a journey full of sex, violence, and convenience stores.

<span class="mw-page-title-main">Rosa von Praunheim</span> German film director

Holger Bernhard Bruno Mischwitzky, known professionally as Rosa von Praunheim, is a German film director, author, painter and one of the most famous gay rights activists in the German-speaking world. In over 50 years, von Praunheim has made more than 150 films. His works influenced the development of LGBTQ+ rights movements worldwide.

<i>Totally F***ed Up</i> 1993 film by Gregg Araki

Totally F***ed Up is a 1993 American drama film written and directed by Gregg Araki. The first installment of Araki's Teenage Apocalypse film trilogy, it is considered a seminal entry in the New Queer Cinema genre.

<i>The Gift</i> (2003 film) 2003 American film

The Gift is a 2003 documentary film by filmmaker Louise Hogarth documenting the phenomenon of deliberate HIV infection; such practices are known colloquially as bugchasing, for seeking and providing voluntary HIV infection, respectively. The film follows the stories of two "bug chasers" who are seeking "the gift" of HIV infection. Interviews are also conducted with AIDS activist and author, Walt Odets, PhD, and HIV positive and negative men. The film explores the normalization and glamorization of HIV/AIDS and discusses the isolation and division caused by HIV status in the gay community.

<i>Koolaids: The Art of War</i> 1998 novel by Rabih Alameddine

Koolaids: The Art of War is a novel by Rabih Alameddine, an author and painter who lives in both San Francisco and Beirut. He grew up in the Middle East, in Kuwait and Lebanon. Published in 1998, Koolaids is Alameddine's first novel. The majority of the story takes place in San Francisco and Beirut, the sites of two very different "wars". San Francisco from the mid-1980s into the 1990s is the main site of the AIDS epidemic, especially among the gay community, while Beirut is the site of a brutal civil war.

Historically, the portrayal of lesbian, gay, bisexual, and transgender (LGBT) people in media has been largely negative if not altogether absent, reflecting a general cultural intolerance of LGBT individuals; however, from the 1990s to present day, there has been an increase in the positive depictions of LGBT people, issues, and concerns within mainstream media in North America. The LGBT communities have taken an increasingly proactive stand in defining their own culture, with a primary goal of achieving an affirmative visibility in mainstream media. The positive portrayal or increased presence of the LGBT communities in media has served to increase acceptance and support for LGBT communities, establish LGBT communities as a norm, and provide information on the topic.

<i>How to Have Sex in an Epidemic</i> 1983 book by Richard Berkowitz and Michael Callen

How to Have Sex in an Epidemic: One Approach is a 1983 manual by Richard Berkowitz and Michael Callen, under the direction of Joseph Sonnabend, to advise men who have sex with men (MSM) about how to avoid contracting the infecting agent which causes AIDS. It was among the first publications to recommend the use of condoms to prevent the transmission of STDs in men having sex with men, and has even been named, along with Play Fair!, as one of the foundational publications in the advent of modern safe sex.

Initial events and trends in the discussion of HIV and AIDS in mass media contributed to the stigma and discrimination against those affected with the disease. Later discussion, sometimes led by HIV+ individuals themselves, moved toward advocacy and education on disease prevention and management. The UNESCO report on Journalism Education says, "Well researched television content can create public awareness about HIV prevention, treatment, care and support can potentially influence the development and implementation of relevant policies."

<i>Positive</i> (1990 film) 1990 American film

Positive is a 1990 documentary film directed, written and produced by Rosa von Praunheim. The film received international resonance.

Since the transition into the modern-day gay rights movement, homosexuality has appeared more frequently in American film and cinema.

<span class="mw-page-title-main">Walt Odets</span> American clinical psychologist and author

Walt Whitman Odets is an American clinical psychologist and author. He has written about the early development, psychological and social experiences of gay men and their communities. Odets' earlier writing focused on the lives of men living in and surviving the early AIDS epidemic. The spring 1996 issue of Positive Impact Journal called him "an important voice in the AIDS education and prevention arena." Odets's 1995 study, In the Shadow of the Epidemic: Being HIV-Negative in the Age of AIDS, was listed by The New York Times as among the "Notable Books of the Year 1995." Additionally, In the Shadow of the Epidemic was the No. 1 bestselling book purchased by gay men in the late fall of 1995, according to The Advocate, and was confirmed as a "Gay Bestseller of 1995" by the Feminist Bookstore News.

Jameson Currier is an American novelist, short story writer, poet, critic, journalist, editor, and publisher.

Richard Holt Locke was an American actor in gay erotic films of the 1970s and 1980s, who went on to become an AIDS educator and activist. As a performer in adult cinema, Locke has been credited with being one of the "earliest and most widely emulated VCR stars" in gay erotic cinema, as well as someone whose performance and physicality contributed to the evolution of gay sexual behavior in the 1970s and 1980s.

<i>Kiki</i> (2016 film) 2016 American film

Kiki is an American-Swedish co-produced documentary film, released in 2016. It takes place in New York City, and focuses on the "drag and voguing scene [and] surveys the lives of LGBT youth of color at a time when Black Lives Matter and trans rights are making front-page headlines". The film was directed by Sara Jordenö and considered an unofficial sequel to the influential 1990 film Paris Is Burning, the film profiles several young LGBT people of colour participating in contemporary LGBT African American ball culture.

<i>BPM (Beats per Minute)</i> 2017 film by Robin Campillo

BPM (Beats per Minute), also known as 120 BPM (Beats per Minute), (French: 120 battements par minute) is a 2017 French drama film directed by Robin Campillo and starring Nahuel Pérez Biscayart, Arnaud Valois and Adèle Haenel. The film is about the AIDS activism of ACT UP Paris in 1990s France. Campillo and co-screenwriter Philippe Mangeot drew on their personal experiences with ACT UP in developing the story.

References

  1. "THE LIVING END (18)". British Board of Film Classification . 1992-12-18. Retrieved 2013-07-06.
  2. The Living End – Box Office Mojo Retrieved 2010-05-27.
  3. "The Living End". Rolling Stone . 21 September 1992. Archived from the original on 2021-03-19. Retrieved 2021-03-19.
  4. 1 2 Hallas, Roger (2003). "AIDS and Gay Cinephilia". Camera Obscura. 18 (1): 85–126. ISSN   1529-1510.
  5. 1 2 3 4 Mills, Robert (2017-09-01). "Violent bodies and victim narratives: On the cinematic activism of Gregg Araki's The Living End". Queer Studies in Media & Popular Culture. 2 (3): 309–321. doi:10.1386/qsmpc.2.3.309_1. ISSN   2055-5695.
  6. Aghideh, Zahra (2021-01-01). "AIDS Crisis and Frustration in <i>THE LIVING END</i> The Story of Two Sexually Active HIV Positives". University of Bayreuth.
  7. Hart, Kylo-Patrick R. (2010). Images for a Generation Doomed: The Films and Career of Gregg Araki. United Kingdom: Rowman & Littlefield. p. 133. ISBN   9780739139974.
  8. Rich, B. Ruby (2013). New Queer Cinema: The Director's Cut. Duke University Press. ISBN   978-0-8223-5411-6.
  9. Yutani, Kimberly (2019). "Gregg Araki and the Queer New Wave". Amerasia Journal. 20 (1): 83–92. doi:10.17953/amer.20.1.g7573623866408h3. ISSN   0044-7471 via Taylor & Francis Online.
  10. 1 2 Klemm, Michael D. (2008). "Radical Politics, Guerrilla Filmmaking". www.cinemaqueer.com. Retrieved 2024-01-31.
  11. "The Living End". Rotten Tomatoes . Fandango Media . Retrieved November 20, 2022.
  12. "The Living End Reviews". Metacritic . Fandom, Inc. Retrieved November 20, 2022.
  13. Maslin, Janet (3 April 1992). "Review/Film Festival: The Living End; Footloose, Frenzied and H.I.V.-Positive". The New York Times. Archived from the original on 2021-03-19. Retrieved 2021-03-19.
  14. "'The Living End'". The Washington Post . Archived from the original on 2012-11-11. Retrieved 2021-03-19.
  15. The Living End
  16. Adnum, Mark (February 2005). "My Own Private New Queer Cinema". Senses of Cinema . No. 34. Melbourne, Australia: Senses of Cinema Inc. Archived from the original on 2021-03-19. Retrieved 2021-03-19.
  17. Patrick, Robert (1992). Letters from Quentin Crisp. New York Public Library for the Performing Arts.{{cite book}}: CS1 maint: location missing publisher (link)