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I discovered Pink Narcissus that way, almost by chance and knowing very little about it. Its story has the taste of an origin myth. The film follows the sexual dreams of a young male hustler, played by the ridiculously handsome Bobby Kendall. As in a cinematic version of a revue, Kendall sublimates the memory of a sexual encounter into a bullfight, turning himself into a toreador, a sultan, a Roman emperor and a Roman slave.īidgood worked on the project from 1963 to 1970 with very limited means, building set after set in his cramped Hell’s Kitchen flat, repurposing found objects and materials. He employed different lenses and extreme angles to create the illusion of depth, together with double exposures, color gels, and other basic cinematographic tricks. Scenes were heavily constructed, and featured glowing effects, artificial and hyper-saturated colors.
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Pink Narcissus struck me as the erotic dream of a queer Fellini. It reflected some of my own sexual fantasies, but it also drew on the decadent atmospheres of cultural expressions I was exploring at the time: Joris-Karl Huysmans’s novel À rebours (1884), Oscar Wilde’s plays, and Aubrey Beardsley’s illustrations, which I would diligently copy for my drawing assignments at school. I found the film so relatable because, after all, it is about the daydreaming of a gay teenager - with all the limits of a product of its time. Today, the wild Orientalism of certain scenes and the cast of exclusively Caucasian men would place it in a dangerously problematic zone of culture.
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The way Pink Narcissus legitimizes eroticism by situating nudes in mythological and artificial settings is a strategy that was all the rage in the Golden Age of Hollywood, one of Bidgood’s major reference points.