Sebastiane

"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.

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.

Not being overly familiar with Bible stories or Christian history (and the fact that the opening rolling titles are impossible to read), the factuality of this film will escape me. But Jarman is a visual artist, and his film has more in common with the many paintings of Sebastian than it does with factual storytelling. Jarman's ornate decor can sometimes feel dull and bland -- his films can seem lifeless, bogged down by the set decoration. This calls to mind "Velvet Goldmine," a complex film I didn't care for, even though I love Todd Haynes; I want to like Jarman -- I love his books -- and this is the first film of his that I've been actively enthusiastic about. It has much more to do with sex than history; and it's apolitical and political at the same time.

Consider the film's approach to homosexuality. No one is defined as being a homosexual, so that at first seems like a de-politicization of sex -- all there are are acts, and acts are not political. But at the same time, it's acts that are disdained and made illegal, and without the "political" approach to defining (and thereby defending) people as homosexuals, it leaves the acts open to censorship and condemnation -- politicization. As a film itself, though, it is not pedantic or accusatory -- in fact, Sebastian is killed, it seems, because of the lust of Severus, who he refuses. Like the Christian God who Sebastian loves and sees as more beautiful than Adonis, Severus wants Sebastian. But it isn't just condemning lust, either -- Anthony and Adrian are openly lovers, and the abundance of male nudity, and the eroticism of it by Jarman, could hardly be called prudish. In fact, there is a scene at night of the men grabbing each other, their dark-lit bodies, and the soldier pressing his near-naked, muscled body on his lover, that still seems shocking in its passion today.

It's more like a lyrical tone poem, and Brian Eno's New Age-y score goes well with that. Jarman isn't a bully, and when the crucifying comes around he doesn't bludgeon us -- first we see a close-up of his face, as arrows pierce through Sebastian's skin, silently with the exception of the wind, and Jarman gives us one final distorted image to meditate on the death of the one we can't have. 9/10

While not his strongest film, Sebastiane is classic Derek Jarman. The movie captures the potential for violence and lust in a small group of exiled young soldiers. As with all Jarman, the visuals here are more important than any dialog, and they wash over the viewer in waves of longing and fear-inducing power. The film meditates on intersections of longing, desire, faith and obsession, especially as they play out between Severus and Sebastiane.

Sebastiane's "obsessive" Christian faith rivals the lustful obsession of Serverus for this unattainable man. The movie doesn't flinch from showing how brutal desire can be; it is a hard master for both Serverus and Sabastiane. What I came away from the film with is the powerful question: What horrors and debasements will we all put ourselves through for the object of our lust?

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.