Fireworks

Depicts a dream sequence about the brutal rape and torture of director Kenneth Anger himself (as a teenager) by a group of sailors on the street (after trying to pick one of them up).

Anger later said, "This flick is all I have to say about being seventeen, the United States Navy, American Christmas, and the Fourth of July." Holy smokes, guys. This is about as hard-hitting as it comes for the 1940s. The homosexual theme, the intense violence... this is still shocking and revolting in the 2010s... we have have grown soft to violence, but if we have I can only imagine how people in the 40s reacted when they saw this. Terrifying!

When you see it , it reminds a sort of Querelle by Fassbinder or touch of Tom of Finland. And not only for sailors or for vulnerable young man , for who the borders between dream and reality become fiction but for the state.

But Fireworks is a film of the year 1947. This historical context defines it and makes not easy to see it as cry, manifesto, protest or expression of eccenticity.

It is only a confession about an incident, crafted as a cold - bitter poem about violence, nightmares, terrible experiences and their transfiguration.

The basic gift to viewer - to imagine see it in 1947 atmosphere.

A simple story and a wise crafted portrait of dark reality in precise terms.

A young man with a restless libido steps out of a fantasy world into real-life encounters that are both mercilessly brutal and profoundly liberating. Not for film school students to pick apart in class; they'll never understand it that way. This is a shudderingly intimate film that can only be grasped on an instinctual, visceral level. It is essential to be more than a mere voyeur, to empathize with the film's protagonist (a young Anger himself), and enter with him into his very personal homosexual twilight-world of fantasy. An unflinching and daringly honest examination of Anger's own take on the homoerotic myth associated with sailors, which is both surrealistic a la Luis Bunuel & Salvador Dali's Un Chien Andalou, and exquisitely ethereal, evoking one of Anger's early cinematic heroes, Jean Cocteau (compare this film to the far more subliminal Blood of a Poet for fascinating parallels). It also owes more than a passing nod in the direction of the great Jean Genet. YES it poetically glorifies homosexual violence; it does this in a way which is far less graphic than contemporary films, and if anyone is offended by this "violence" I might venture to suggest that their reaction has more to do with their discomfort with their own darker sexual fantasies, as this film has the power to touch, even open, this very private, very special place in the viewer's soul. It also surprises me, how frequently the humorous elements of the film seem to escape many reviewers.

As the film is now over 50 years old, it does help to recall its historical context: when it was made, almost all gays and lesbians led fiercely closeted lives, and cowered in terror of "entrapment" (a common device employed by police to bust human beings for the "crime" of same-sex acts). For such a film to explode out of this repressive social context makes it "fireworks" indeed! And it is easy to see why the intelligentsia of the day rightly wanted to lionize the young Anger for this astonishing manifesto that comprises his official cinematic debut. Apparently a powerful scene was later edited out, depicting Anger being humiliated by his tormentors on the floor of the urinal. I wish this scene was still intact; nonetheless, even as it stands, this is one of the most powerful, beautiful, knowing films ever made about fantasy, violence, and eroticism. Amazingly, virtually every film subsequently made by Anger sustains this unique power. Kenneth Anger is truly one of the greatest American artists and filmmakers. Sadly the public focus on his Hollywood Babylon books, his controversial beliefs and life have dwarfed appreciation of his monolithic power as a filmmaker. He has influenced scores of successors and it's time to give this great artist his due.

This film is one of the seminal works of underground cinema and hugely influential on what was to follow - including Jean Genet's 'Un Chant d'Amour' - hallucinatory, surreal. Sheer unalloyed genius. Beautifully luminous black-and-white photography and razor-sharp editing. Made when Anger was a mere twenty years old (he claimed seventeen ... those three years make all the difference), and shot for a few dollars on the family 16mm camera, it remains one of the founding texts of the underground, looking back to Eisenstein's montage theories and forward to the explosion in avant-garde film-making in the '50s and '60s. The greatest living film-maker.

That movie dared to go very far for its time, and Anger made it when he was only 17 years old, which in itself is a real tour de force.

However, it may not be for everyone. Mentalities about the film's theme, homosexuality, evolved a lot since the release date.