Left: Brad Davis in “Querelle,” 1982; Right: Jean Cocteau’s “Sailor,” c. 1940s
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Brad Davis in "Querelle", directed 1982 by Rainer Werner Fassbinder, after the novel with the same name by Jean Genet.
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Brad Davis (1949-1991), ator impecável que morreu precocemente.
Duas obras de sua extensa filmografia:
Midnight Express - direção: Alan Parker, 1978.
Querelle - direção: Rainer Werner Fassbinder, 1982.
Foto: https://www.tumblr.com/sideshowstudio
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Come appreciate Brad Davis’ chest pelt when - in honour of Pride month - the FREE monthly Lobotomy Room cinema club presents Querelle (1982), R W Fassbinder’s adaptation of the scandalous Jean Genet novel! 15 June at Fontaine’s bar in Dalston! Set in the port of Brest (or “the fetid, stinking port of Brest” as it’s described on the back of my paperback), the plot focuses on Angel of the Apocalypse, the titular young sailor Georges Querelle (Davis), a totally amoral anti-hero with a sideline in murder, theft and opium smuggling. Querelle is so physically beautiful he’s irresistible to both men and women: pretty much every character he encounters becomes fatally attracted to him – and boy, does it lead to some wacky mishaps! Won’t you join us to watch this flawed, messy but compelling movie over cocktails? Full rancid details here.
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Brad Davis in Querelle (1982)
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Brad Davis (1949-1991) in Fassbinder's Querelle (1982)
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rstabbert
Brad Davis in Querelle (Pier Paolo Pasolini, 1982) and “Sailor,” by Jean Cocteau, 1940s
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Brad Davis and Franco Nero in Querelle (1982) dir. Rainer Werner Fassbinder
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Querelle (1982)
Director: Rainer Werner Fassbinder
Starring: Brad Davis, Franco Nero, Jeanne Moreau
A handsome sailor is drawn into a vortex of sibling rivalry, murder, and explosive sexuality.
It’s beyond comprehension that ‘Querelle’ broke box office records for a gay-themed movie when it was released in Paris. I bet the audience consisted mainly of gay men, and confused or closeted heterosexual men,…
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Querelle (1982)
Director: Rainer Werner Fassbinder
Stars: Brad Davis, Franco Nero, Jeanne Moreau...
French sailor Querelle arrives in Brest and starts frequenting a strange whorehouse. He discovers that his brother Robert is the lover of the lady owner, Lysiane. Here, you can play dice with Nono, Lysiane's husband : if you win, you are allowed to make love with Lysiane, if you lose, you have to make love with Nono... Querelle loses on purpose...
I liked this movie, but I should say I’m really biased when it comes to Jean Genet because he’s my favourite author. I’ve read his other work - The Thief’s Journal, Our Lady of the Flowers and Miracle of the Rose because that’s what I could find in my library, but if there was more I’d read all of it. What I appreciate in his work is the way he combines the sophisticated and the vulgar together in such a rhythm that is really pleasing for me to follow and the resulting aesthetics is just very attractive to me. It has somewhat of an edge to it, even if he sometimes goes overboard with certain details. I am particularly not fond of the crime/murder and betrayal aspect, but what I find Genet most gifted at is the way he captures masculine parts of human experience and the power play/dominance and submission between two men in all its subtle details. I still haven’t found anyone whose work comes nearly close to that of Genet in that regard.
As for my interpretation of this movie, to me it just seems like the main character - Querelle - is struggling with his homosexuality. He tries to deny his urges and feelings, which just leads him further into violent and criminal behaviour and the underworld, where he momentarily finds solace and manages to let his guard down and have a romantic/tender moment with a person of the same sex. The relationship between brothers is somewhat unclear to me, there are hints of incestuous feelings, but I couldn’t quite understand it better, especially the ending that was the most confusing to me - apparently, they are not brothers at all.
What I disliked about this movie is what I dislike in all other Genet’s works - crime/murder and betrayal motifs, which by seeing the visual side of the movie seemed even more strongly emphasized to me than in his literary works, probably because in literature I normally interpret those details as his poetic expression and am not taking them very factually, while in this movie there was no way of avoiding them. Also, I could definitely understand if there would be critiques of the movie being misogynist because it just completely leaves women out of the picture and doesn’t provide them any space for their self-realization or self-fulfillment, looking mainly through the character of Lysiane. Even though I knew beforehand that most Genet’s work explores male homosexuality, so I didn’t even expect a lot of females to be represented, still the portrayal of women in this movie didn’t sit well with me.
Rating: 4/5
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