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Written by Andrew Shaw
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Thursday, 17 December 2009 07:01 |
Sometimes a queer film comes along that refuses to stick to gay movie stereotypes. Dog Tags is one of them, says Andrew Shaw.
In Damion Dietz’s 2008 film Dog Tags, there’s a sequence where a young queer, Andy, is about to be introduced to a salon of A-list queens by his social climbing friend. When Andy goes to put eye-liner on, he’s stopped. “You don’t want to look too unique,” his friend warns.
Needless to say, Andy doesn’t perform well at this exclusive gathering; he can’t connect with the bored and the beautiful, he’s just not gay enough. Dietz says the air of stagnant, cynical ‘gayness’ is one he deliberately set out to create. “To me, that sequence is so disturbing because that ten minutes is like a lot of gay films. But then the whole movie would just be that world. Obviously I knew I wasn’t making that kind of film, but I wanted to achieve that feeling.”
Dog Tags is the story of Nate (Paul Preiss, pictured)) and Andy (Bart Fletcher), who meet at a dodgy gay porn shoot, then hang out for a few days. Both are still questioning their sexuality: Andy has a child from a straight relationship, Nate is about to enlist in the Marines to support his fiancée and make his waitress mother – played brilliantly by Candy Clark – proud of him.
Dietz, who wrote and directed the film, came up with the story after a chance encounter of his own. “I met a Marine one weekend and we just hit it off. We were so vastly different... I don’t know why we connected, but we did. We hung around for only a couple of days, just very briefly, and I was taken by the stories he told about why he joined. He came from a background of poverty. It was heart-breaking in a way. Then I dropped him off at the base and that was the last I ever saw or heard of him. This film is based on that memory, and who I thought maybe he was.”
Dog Tags’ theme of the search for personal identity, and its realistic, warts-and-all depiction of American life is evocative of American films of the Seventies. “It’s so astute that you said that about the Seventies,” Dietz says. “Midnight Cowboy is one of my favourite films, that style, and I think Dog Tags does have a Seventies style. I used Candy Clark in the film, who’s an iconic Seventies actress in America. She was in American Graffiti.
“In the same way that in Midnight Cowboy we have the iconic male figure [Jon Voight] I wanted to explore and possibly subvert the iconic soldier with Nate.”
Dietz says Preiss’s all-American good looks were not the only reason he was cast as the confused Marine. In one scene Nate goes to meet the man he believes is his father, dressed in his Marines uniform. When he discovers the truth, his wordless reaction is heart-breaking. “What set Paul apart in my mind was that his eyes are unique,” Dietz says. “He has the ability to communicate what’s on his soul’s mind, so to speak. The idea of a man with grey sexuality in the military is fascinating, but I think when people see the film it’s a little bit more than that surface action.”
Dietz visited Australia to coincide with Dog Tags' appearance in the queer film festival circuit in March, and its reception indicates the film is likely to become a queer classic. Its beautifully crafted script, even-handed direction and skilful ensemble acting will endear it to a wider audience looking for American cinema that still has something to say about life’s queer contradictions.
Dog Tags is now out on DVD, distributed by Love Films.
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