Sebastiane

It's a while since I watched this, and what little I do remember is odd, to say the least (it is a Jarman film), so I won't try to go into detail, as I'd probably mis-remember something. All I will say is that it's a definite indicator as to which way Jarman went. Certainly not one for homophobes.

Visually striking (as is typical of Jarman), this film is best known for being the first film to be filmed entirely in Latin (The Holy Office (from Spain) in 1975 had some dialogue in Latin, but also Hebrew), and also for being Jarman's debut feature (he had worked on three pictures beforehand, including Ken Russell's The Devils, but this was his first directing job). As with most of Jarman's work, Sebastiane is very arthouse, and will rarely be played on television (Channel 4 here in the UK last played it a few years ago in a Jarman season). Next time it's on, do as I intend to do, and watch it.

"Sebastiane" is fairly unique in film history, at least prior to Gibson's "The Passion," for its exclusive (and historically correct) use of Latin. That said, it was also a ground-breaker for its sensitive and frank depiction of homosexual desire in a film intended for the non-pornographic market. Potential viewers should be aware that the same-sex sexual content is quite explicit, and that the film would have an NC-17 rating if released in the US today. The film was shot entirely on location in (if I recall correctly) North Africa, and the arid, nearly tree-less landscape lends itself to the storyline quite well. Costuming is minimal, limited to loincloths, helmets, greaves, and gauntlets. The acting is somewhat stiff, probably the result of speaking a "dead" language. But without question, if you are a fan of Derek Jarman and his work, this is a film that should not be missed, if you can find it. I have never seen it on any seller's lists in the US. My own tape of it was obtained in Europe.

Atmospheric, lyrical, experimental, and with a distinctly queer gaze, Sebastiane is a must for those interested in gay cinema. The film explores the myth behind St. Sebastian whose paintings and imagery have always been linked to queerness as he was one of the only male figures to be sexualized, a rare occurrence, with his naked arrowed chest.

Sebastiane, a Christian, is exiled to a remote sort of military camp. The emphasis as has been said is clearly on the visual.The air permeates and oozes of sexual desire and longing. Soldiers are half naked throughout, often wrestling, joking, and talking a lot about sex. Sebastiane, stands apart because of his Christian beliefs, and the film explores the sado masochism inherent in martyrdom, the pleasure the pain brings, further strengthening his convictions. Sebastiane believes strongly in a higher power and the film itself seems em bused with a spirituality in its slow contemplative shots of nature. The film also deals heavily with unrequited love, both Justin and Severes have an eye for Sebastiane but express it in very different ways. There is also a gay couple among the soldiers whose love is tender and natural. Jarman has a distinct "voice", his films and imagery feel deeply personal and are generally in my opinion fascinating to watch.

It's surprising more comments haven't been posted for this production which, at the time of its original release, created quite a stir. Perhaps the film's failure to create a continuing subgenre of imitators is to blame, but then, that makes it a one-of-a-kind effort and efforts of this sort deserve remembering as well.

Looking back on the film from more than a quarter of a century, it seems clear that normal criteria concerning story, dialog, and character simply don't apply here. Instead, one must simply view it as a feverish, almost hallucinogenic fantasy drenched with homoerotic, sadomasochistic imagery that is played out against a sun-drenched dreamscape on the Sardinian coast. Think of it as a high-class photo shoot for an avant-garde fashion magazine specializing in loincloths and Roman military paraphernalia.

Having the dialog spoken in Latin can be dismissed as a "gimmick" but actually it adds to the film's air of mystery and unreality. If only some of the anachronisms could have been avoided!

Considering the possibilities, there's surprisingly little sex here, though it's a subject often discussed and, indeed, the whole film is imbued with an air of desire and yearning. On the other hand, there's a plethora of bondage and torture. Leonardo Treviglio, who plays the title character and who spends most of the movie in no more than a loincloth, is hanged by his wrists and flogged, burned with a flame, staked out spreadeagle-style under the scorching sun, and finally shot full of arrows. Curiously, his most memorable torment is also the simplest. Barney James, playing the commanding officer who's torn by conflicting emotions, takes a handful of sand and grinds it into Treviglio's bare torso, blurring the lines between pleasure and pain, between lust and longing. It's a memorable moment in a movie that is now half-forgotten ... like one of those dreams which fade from the mind after you awaken, even though you try to recall the details.

The film is a gem in the global history of LGBT cinema, partly for the reason it doesn't promote self-shaming. While the life of St. Sebastiane is portrayed in a partly fictitious manner, certain traditions and beliefs ingrained in the culture of the Roman Empire are honestly depicted. Same-sex love was still prevalent during the Early Christian Era of Rome. It was not perceived to be an act against religious faith for at the time even aristocratic men who were married were still respected if having been discovered to partake in sexual intercourse with male servants. Women played a submissive, domestic role. They were thus regarded as merely a means to produce male children. There was no religious scripture condemning homosexuality or same-sex love at the time. Society had not evolved to the point in which it would began to shame itself for possessing natural tendencies until polytheism became extinct in the Early Medieval Era.

The military culture in the film is rustic, aggressive, bold and hyper masculine. All scenes contain soldiers wearing a loincloth or nothing at all. The climate of the region is very hot. No character is modest in displaying combat skills, love and affection for another. The troop's constant disdain for any tradition/belief contrary to their own is a recurring theme.

Sebastiane becomes the target of the troop's aggressive nature, willingly embracing his persecution. It comes across as a Christian being devoured by a lion in the Roman Colosseum. The troop stationed in a desolate spot on the coast of the Italian peninsula ridicules, tortures and eventually executes Sebastiane for refusing to relinquish his chastity and adherence to the new faith. It may be perceived that he was mistreated for rejecting his station in life, though at the time anyone who joined the military did not think twice about giving up arms for a peaceful life. Sebastiane would have participated in warfare if the Emperor commanded it.

In 3rd Century Imperial Rome, Christianity and Polytheism were in conflict, resulting in reigns marked by global adherence for polytheism or peace between different religious communities. During Sebastiane's life, Christianity was still a minority religion. It was treated as a threat to the security of the Empire. Anyone who openly practiced the faith was executed. Churches built were destroyed for the construction of temples. The Emperor was unwilling to show leniency towards anyone who contested his divine authority.

There is only one soldier who regards Sebastiane as a friend: Justin. Even though they don't become lovers, they are bound to one another through mutual trust and compassion. Justin is willing to listen to Sebastiane's viewpoints and knowledge of Jesus Christ. When watching his friend dance he is enraptured by graceful movement. He acts as a barrier between Sebastiane and the troop. Without Justin's diligent protection, Sebastiane would have been executed early on in his punishment.

It is somewhat of an irony that despite Commander Severus' multiple attempts to subdue his defiant soldier, he appears indifferent to Sebastiane's devotion to Jesus Christ. He threatens to kill him if he does not reciprocate his advances. He is after all, a mere man stranded in an area far from civilization. Alcoholism ruins his self- restraint, though Sebastiane does not succumb to anger or hatred. He takes this injustice in stride for his faith teaches him to show compassion towards the flaws of a person.

The film equates nudity with misery. When someone is miserable, a person can easily see it. His life is consuming him mercilessly so no effort to hide it is made. The men are nude for their violence, internal conflict, masculinity and love for one another are the interlocking factors of the story. Nudity emphasizes the relationship between these things. It gives the audience a message that human nature in Imperial Rome is truly understood if one takes away the subtlety and ambiguity redundantly utilized in the artistic portrayal of this historical period.

It would be amiss to not mention that that nudity in a Mediterranean climate was considered reasonable during the summer season amongst cloistered men. Being fully clothed was just foolishness. If no woman is in sight, a man would not feel uncomfortable in taking his clothes off. He is surrounded by friends whom he trusts and shares a bond with.

I commend the late Director Derek Jarman for instructing his entire cast to speak in Latin. There are only a handful of films in Post- modernist Cinema that are entirely produced in classical language. Latin much like Sanskrit, is viewed as a dead language, thus Derek Jarman's effort to present Imperial Roman culture as accurate as possible is dignified.