Documentaries, well timed, make a difference. Especially when they are of the quality of this 1989-91 documentary about black men loving black men. TONGUES UNTIED was written and directed and narrated by Marton Riggs who with assistance from other gay Black men, especially poet Essex Hemphill, celebrates Black men loving Black men as a revolutionary act. The film intercuts footage of Hemphill reciting his poetry, Riggs telling the story of his growing up, scenes of men in social intercourse and dance, and various comic riffs, including a visit to the "Institute of Snap!thology," where men take lessons in how to snap their fingers: the sling snap, the point snap, the diva snap. The film closes with obituaries for victims of AIDS and archival footage of the civil rights movement placed next to footage of Black men marching in a gay pride parade.
The film is a lyrical exploration of black gay identity in the United States. Made during a historical period marked by the onset of the AIDS crisis, the works navigate desire, love, loss, and mourning to engage and question sexual and political repression, expression, and deviation.
Riggs's stories are fierce examples of homophobia and racism: the man refused entry to a gay bar because of his color; the college student left bleeding on the sidewalk after a gay-bashing; the loneliness and isolation of the drag queen. The stories also affirm the black gay male experience: protest marches, smoky bars, snap divas, humorous musicology, and vogue dancing. It is as timely today as it was in 1991 when it was aired on PBS, setting off a wild debate about the National Endowment for the Arts funding for art with nudity, gay themes, and pointed political commentary. Impressive and important.
The film is a lyrical exploration of black gay identity in the United States. Made during a historical period marked by the onset of the AIDS crisis, the works navigate desire, love, loss, and mourning to engage and question sexual and political repression, expression, and deviation.
Riggs's stories are fierce examples of homophobia and racism: the man refused entry to a gay bar because of his color; the college student left bleeding on the sidewalk after a gay-bashing; the loneliness and isolation of the drag queen. The stories also affirm the black gay male experience: protest marches, smoky bars, snap divas, humorous musicology, and vogue dancing. It is as timely today as it was in 1991 when it was aired on PBS, setting off a wild debate about the National Endowment for the Arts funding for art with nudity, gay themes, and pointed political commentary. Impressive and important.