BOY CULTURE [A romantic comedy film starring Derek Magyar, Darryl Stephens and
Jonathan Treat. Directed by Q. Allan Brocka. Now available on DVD
through amazon.com and various retail outlets.] Reviewed by Stanley Bennett Clay Author of “Looker” Boy Culture is a near-perfect gem of a film that deals with love,
family, and sex within the gay male community sensitively, humorously,
and intelligently.X, our narrator, is a cynical high-end hustler with a regular clientele
limited to twelve. When one of his johns commits suicide, the open slot
is given to a distinguished but mysterious older gentleman of
considerable means (played with quiet dignity by British veteran
Patrick Bauchau).Although the story of X and the older gent Gregory is a moving,
surprising, and integral part of the film, it is X’s communal
relationship with his two roommates that fuels this unconventionally
told tale. Twentysomething-year-olds X and Andrew are, more or less,
parents to eighteen-year-old boy toy Joey who has the hots for X who
has the hots for Andrew.These three beautiful men percolate with sexual tension as their mutant
platonic ménage a trois continuously threatens to boil over into the
real deal as they self-examine their quests toward or retreats from
carnal gratification, boyfriendhood and/or true love.They’re quite a family, these three, at once looking out for each other
and constantly jealous of each other as only jealous lovers can be.Sick of waiting for each other to come around, lines are ultimately
crossed inflicting deep wounds that cause each of our handsome and
endearing heroes to duck for cover. X backs into his emotional suit of armor when his exposed feelings for
Andrew are suddenly muted by the unexpected appearance of a straight
boy Andrew had a crush on that is now not so straight. X’s paternal feelings toward Joey genuinely anguish the sexy teen whose
declaration of love and the offer of his hot young sex, engender no
more than a pat on the head from the hustling vet. Andrew, open to love, but on his own terms (well sort of), hides behind principles and the fear of pain. Oh, by the way, did I happen to mention that Andrew is
African-American? Well he is, and it doesn’t come up much in the film
either. There's a great segment in the film when Andrew and X take a
trip to the wedding of Andrew's ex-beard and the two men sleep over at
the home of Andrew's middle-class black parents. The segment is funny,
sophisticated, surprising, and visionary. Obama would be proud. Besting his performance as the title character in TV’s first black gay
series (“Noah’s Arc”), Darryl Stephens is nothing short of miraculous
here. Sure-footed and solidly grounded, he underlines his considerable
sensuality with an unmannered self-dignity that layers his performance
with a dark, juxtaposing self-doubt. It is easy to see why X, who is
strictly sex-for-pay-and-love-no-way, fights, what seems to be a losing
battle, his deep-rooted feelings for Andrew from the first reel. Jonathan Trent as Joey is quite funny as the great young tragedian in
the Heart Wars. His lovelorn teen angst is never far from the surface
of his gawking, non-stereotypical flamboyance. You certainly understand
why the two older roomies take him and keep him under their wings. And then there is Derek Magyar. He is perfectly absorbing as X.
Casually capturing our sympathy and concern from beginning to end, he
serves the glib, but telling narration with an admirable lack of
histrionics and dramatic filigree, and as our MAIN main character, he
keeps us glued to the story, his story, with a seamless clinch. Not bad
for a hooker who flatly admits that he lays ‘em, gets paid, and gets
out. Finally, the technical aspects of this small budget film shot in 18
days as very, very good. The cinematography is beautifully evocative of
the city of Seattle where our story takes place, and the actors are lit
with great care. Set designs are also wonderful and well dressed.
Thanks to X’s phat hooker income, the loft apartment which he shares
with Andrew and Joey (he only charges them rent on paper in order to
get around any IRS suspicions about his income) is straight out of
Architectural Digest. The script is very smart without being smart-ass, written with a great
care for real human emotion, with all its warts, whimsies, humor and
forlornness. Director Q. Allan Brocka has done an outstanding job on little money,
which just goes to show that all a really good film needs is a really
talented director who knows how to gather and orchestrate a collection
of artists who are truly his creative equals. SOURCE OF THIS STORY
Comments Policy