Queer isn’t the next Bones and All or Challengers, but it’s still a solid trip anchored deftly by Daniel Craig

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As a cinephile who’s witnessed the evolution of cinema, I can confidently say that Luca Guadagnino’s “Queer” is a visual and emotional rollercoaster that leaves you yearning for more. It’s like a kaleidoscope of colors in a South American jungle, where danger lurks in vibrant hues, and snakes slither with a neon glow.

William Lee, portrayed by Daniel Craig, exhibits a blend of bravado and mystery. He’s the kind of man who’d tip his hat and perform a little jig if he spots someone familiar in a local diner nearby. Simultaneously, a gun is always holstered on his hip, reflecting both his self-assuredness and apprehension. Set in Mexico City during the 1950s, Lee’s journey is marked by equal parts confidence and unease. The film, titled “Queer“, is an adaptation from William S. Burroughs’ 1984 novella of the same name. Directed by Luca Guadagnino and written by Justin Kuritzkes, it portrays Lee developing a strong affection for Eugene Allerton (Drew Starkey). His desire is to touch this man, to feel their lips entwined together. However, Eugene doesn’t seem to engage in much conversation with Lee. In fact, there’s a chance he might not even identify as queer.

Isn’t that human nature, though? Our hearts, bodies, and souls yearn for those who ignore us. The cold shoulder is often just seen in our loneliness-soaked minds as another form of foreplay. Lee and Allerton keep running into each other and having physical encounters, all while the former character succumbs deeper and deeper to the horrors of addiction. Opiates fuel Lee, as does a desire to find a rare South American plant allegedly capable of telepathy. That’s what Lee wants more than anything, telepathic communication. He’s chasing something that only exists in fantasy…like true, perfect love.  

In my original expectations, I thought “Queer” would be similar to Luca Guadagnino’s 2017 film “Call Me by Your Name,” offering a spiritual exploration of male relationships and unattainable love. However, upon viewing, it turns out that “Queer” shares more parallels with Guadagnino’s 2018 work, “Suspiria.” Much like the exceptional horror remake, “Queer” is a surrealist journey that delves into disturbing visuals and the manipulation of human forms.

Choosing that unique style for the narrative of “Queer” is quite intriguing. Being queer during this historical period meant immediate social isolation. Your perspective on reality was drastically different from a typical cisgender heterosexual White Anglo-Saxon Protestant (WASP) living peacefully within a picket fence. Consequently, “Queer” deliberately departs from realism by employing miniatures, vibrantly colored sets, and backdrops that resemble matte paintings. This decision also leads to surreal scenes mirroring Lee’s psyche in stark, peculiar ways. Frankly, I never anticipated encountering a writhing, bloodied fetus on the sidewalk when entering “Queer,” nor hearts exploding into beats on the jungle floor.

Guadagnino’s unique, off-kilter artistic flair gave Suspiria a vibrant explosion of wild insanity. While Queer may not be as captivating or extraordinary as that masterpiece, the director’s knack for striking visuals is undeniably impressive. The third act, in particular, stands out with its depiction of Lee and Allerton’s bodies merging during a powerful drug trip. This scene, both sensual and subtly unsettling, poses the intriguing query: “What if the pivotal sequence from Society were influenced by Joel Schumacher’s fascination with sculpted male physiques?” It’s a highly evocative portrayal of desire and psychedelic enlightenment.

That set piece emerges during the weakest part of Queer. This is where Lee and Allerton travel through a South American jungle to meet Dr. Cotter (Lesley Manville). Far be it from me to dispute any movie delivering incredible sights like Manville wielding a shotgun or shooing away a poisonous snake with ease. However, the Kuritzkes screenplay just isn’t quite as compelling out in the natural world compared to Lee and Allerton’s incredibly confined experiences in Mexico City. In the latter environments, there are always new characters (like Jason Schwartzman’s delightful Joe Guidry) or interesting music cues (like an amazingly anachronistic Nirvana needle drop) to explore.

In these South American homes, the series titled “Queer” seems to tire due to its limited variety of characters and settings. Even the unexpected bursts of energy from surrealist tangents failed to prevent me from feeling that “Queer” began to lose momentum as it progressed. However, throughout the entire film, Craig consistently stands out. This man has built an incredibly bold career, extending far beyond his 007 role that catapulted him into fame. Similar to his performances in “Knives Out” and “Logan Lucky”, Craig again brings unique vocal inflections to William Lee. Occasionally, he reminds me of Ben Kingsley’s on-screen Mandarin voice from “Iron Man 3”. At other moments, he evokes the image of a weary college professor who has had one too many drinks.

Craig’s line readings have a captivating, grandeur feel, particularly in his powerful utterance of “homosexual,” which stands out as one of the most emphatic uses of the term on film. This overt flair is striking, but it truly shines when compared to his more restrained portrayals of William Lee. A lengthy single-take scene showing Lee injecting heroin in his apartment showcases Craig’s ability to convey deep sorrow without uttering a word or blinking an eye. His face remains expressionless throughout the entire shot, yet he powerfully conveys the sense of a man wrestling with his desires and recognizing that giving in to them is self-destructive. Craig’s portrayals of Lee’s most intense displays of longing are also very impactful.

As a devoted admirer, I can’t help but express my awe at the mesmerizing performance of William Lee in this film. His magnetic presence serves as a strong foundation that carries the entire movie, echoing the grandiose instincts reminiscent of “Queer.” The film’s seedy hotel hallways are transformed into vibrant red landscapes, with menacing snakes slithering from the corners adorned in striking yellow. The alluring neon signs of Mexico City glow invitingly, drawing Lee deeper into the night for another drink. This movie is a visual feast, skillfully crafted by Sayombhu Mukdeeprom’s captivating cinematography. To top it off, this film serves as an impressive addition to Lee’s remarkable year, which already included “Challengers” and “Trap.” His stunning work on “Uncle Boonmee Who Can Recall His Past Lives” was already enough to earn him legendary status!

In contrast to Guadagnino’s previous films like Suspiria, Challengers, and Bones and All, the movie Queer doesn’t quite reach the same artistic peak. However, it still offers a delightful cinematic experience, particularly with its stunning miniatures, an innovative Trent Reznor & Atticus Ross score, and another captivating performance by Daniel Craig. If you’re drawn to Queer for more of Daniel Craig’s charm, you’ll find yourself engrossed by the surrealism reminiscent of Suspiria.

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2024-12-04 22:15