By Anna Merlan
By Lee Escobedo
By Alice Laussade
By Scott Reitz
By Claire Lawton
By Kiernan Maletsky
By Anna Merlan
"You know," Maybury continues, "10 years before George Dyer, there was Bacon's love affair with Peter Lacy. Lacy didn't actually commit suicide, but he drank himself to death in a piano bar in Tangier. Bacon was told Lacy had died on the eve of his Tate retrospective. It was almost 10 years to the day when George tops himself! And then when Bacon dies, he leaves $12 million to another East End white boy, John Edwards. That was the official amount, but it was probably considerably more than that."
Maybury feels that Bacon's frankness--about sexuality and everything else--might well have played into the hands of the painter's detractors. But for him it's always been key to his interest in the artist.
"There's always been an argument against Bacon because of the theatricality and formulaic aspect of the work," Maybury explains. "That John Berger essay in Ways of Seeing comparing him to Walt Disney is a part of that. It's the English disease of resenting success. Bacon was a success on such an intellectual scale. At the same time he single-handedly erased Graham Sutherland and that whole neoromantic school of English artist. Just wiped them off the face of the scene! That to me was the most exciting thing about Bacon. Despite the deluge of Abstract Expressionism and American heroic painting--which we've all since found out was sponsored by Bill Paley and the CIA anyway--Bacon was still painting the figure. That was a very radical thing to be doing. So there was a lot of resentment against him, especially on the part of people who had hitched their wagon to the Abstract Expressionists."
There was also resentment against Bacon the man, whose dandified eloquence was captured several times on film, a fact that helped Maybury and actor Jacobi enormously.
"I got my hands on every documentary there is on Francis Bacon, and we looked at them," the filmmaker recalls. "We decided early on that it shouldn't be an impersonation. Derek doesn't try to impersonate his voice. But what he does do is the body language, the gestures. There was one tape that Dan Farson gave me that was never broadcast. It was him interviewing Bacon in a little gallery. Dan Farson was acting as the straight man, feeding him lines. He knew he could get him to make 'Baconesque' remarks. But when Bacon disagrees with something Dan Farson says, he spins his chair around.
"You know, in interviews, Bacon has this incredibly urbane, almost kind of chi-chi way of talking. He'll slip every so often into the very 'Serious Intellectual Francis Bacon,' but then this coquette kind of appears that's completely contradictory to that. Like Warhol, he hid it behind that fantastic character he'd created. Bacon in London, it was much like Warhol in New York. And in a funny kind of way, when he died it was much like when Warhol died. I certainly didn't know Warhol, but he was a hero of mine from school days. When he died you really felt a chunk of New York had died too. The same was true with Bacon. I met him at parties--people introduced me--but in a sense I didn't want to know him. I was terrified of him on one hand, and on the other it's 'Never meet your heroes, they'll always disappoint you.'"
Now 40, Maybury has, over the years, been a player in gay bohemian scenes almost as wild as Bacon's. His video-film Remembrance of Things Fast (it won the 1994 Independent/Experimental award from the Los Angeles Film Critics Association) reflects this. Its mixture of documentary, narrative, and purely abstract imagery finds gay porn star Aidan Shaw drifting through a landscape also inhabited by the likes of Swinton and Rupert Everett.
It seems eons since films like Jarman's Sebastiane (1976) explored homoeroticism with some degree of frankness. In Remembrance of Things Fast, Maybury goes much further than his mentor--thanks to his porn-star friend Aidan Shaw.
"I wanted to put a gay sex scene on [British TV's] Channel 4," says Maybury with an enormous grin. "I knew that one way or another they would screen it. Also I wanted to make a porn scene that was the way I wanted to see it. Not 'the cum-shot scene.' Still, when I came to doing it, I was sort of terrified. It was 'What do I do now?' The other boy wasn't an actor at all, so Aidan was pretty terrified as well. The other boy was pretty game, but they didn't actually fancy each other at all--which often happens in porn. It was just trying to make something sexy that was beautiful at the same time. I didn't want it to be all Day-Glo and pimples.
"I've just made another video-film with Aidan--a short based on the Genet poem 'The Man Sentenced to Death.' It's a kind of multiscreen video with a French actor, Pascal Greggory. He's reciting the poem in French. You've seen him in Eric Rohmer's Pauline at the Beach and Patrice Chereau's Queen Margot. In fact he was Patrice Chereau's boyfriend for a while. Pascal's very cool in the film. I don't speak French, but I deliberately had him do it in French. I showed it in Paris this year as part of a video-art festival they had. It went down really, really well. The intention was, it would annoy English people because it was in French, and it would annoy French people because it's a really good film about Genet made by an Englishman. So it's Pascal and Aidan and a whole bunch of boys masturbating! It's very arty and pretentious and really sexy. I'm even in it, having a wank. I thought, if I can get all my friends to do this, I should do it too!
"Oh," adds Maybury, breaking into peals of laughter, "how one suffers for one's art!"
Love Is the Devil.
Written and directed by John Maybury. Starring Derek Jacobi, Daniel Craig, Tilda Swinton, and Annabel Brooks. Opens Friday.
Join My Voice Nation for free stuff, film info & more!
Find everything you're looking for in your city
Find the best happy hour deals in your city
Get today's exclusive deals at savings of anywhere from 50-90%
Check out the hottest list of places and things to do around your city