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GAY PEOPLE'S CHRONICLE FEBRUARY 10, 1995

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University of Humanity

Continued from page 19

activists of the struggle, too. On the level of presentation, it's fun to sit back and appreciate how well writer-director Singleton presents a coherent picture of prejudice and pluralism.

On a deeper level, there is a continuous and intelligent discussion throughout the film on personal responsibility versus "victimism" among blacks, women, and the reactions of conservative white men. Those of us who were in college 20 years ago-in addition to being amazed at how much things have come back around to being the same again--are challenged to look at those "revolutionary" aspects of our counter-culture that have resulted in counter-productive strains in today's society. It's painful to watch a black student espousing '60s rhetoric that we now know will lead nowhere except bitter self-destruction. It's also painful to watch a party scene with bourgeois college girls for whom "Women's Lib," devoid of any philosophical content, has come to mean little more that the "freedom" of alcohol abuse and irresponsible sexual behavior.

Yet here again, Singleton never presents a simple picture, and no negative is presented in the film without presenting a positive parallel. Beside a date-rape scene that is full of moral ambiguity there is a tender scene of responsible teen sex presented with moral clarity. Beside a scene of women wallowing in victimism there are scenes of a new generation of women discovering healthy feminism for themselves. Beside the angry outof-control rhetoric of a pot-smoking black student "radical" is the rational, deliberating wisdom of a pipe-smoking black professor. The African-American professor is the true

"liberator" in the film, who both opposes oppression and carries compassion through his "tough love."

As for the queer element, the film includes lesbianism, bisexuality, and homophobia. The lesbian student, though one of the supporting characters, is clearly one of the film's heros. Singleton makes a precise historical statement by making the lesbian the leader of the women's movement on campus the liberator of the other women. The bisexual scenes in the film are, more than anything else, a totally brilliant presentation of the moral equivalency of gay and straight relationships I've never seen anything like it on screen. As for homophobia, the white conservative men in the film constantly weave the word "faggot" together with "nigger," "bitch," and "kike" into their web of prejudice. Then Singleton purposely puts a gaybashing scene as the first step in a neo-Nazi attack on a "Celebrating Diversity Rally" that violates everybody on campus. The parable is clear.

Yet even here, Singleton refuses to be simple-minded. The skinhead neo-Nazis are ultimately presented in a compassionate way, so that the solution to their sickness is apparent to us as an audience. The lonely, outcast white boy who is converted to fascism during the course of the film cries out to us, "It hurts! It hurts!"

The film is very disturbing, but in a constructive way. The violence in the film is graphic, but never gratuitous. Ultimately, the film ends on a note of hope, with a message of empowerment, and a very clear picture of how to be "the new humanity."

Dan Geslin is pastor of Liberation United Church of Christ in Cleveland.

Body Language Cleveland State University

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Dr. Eileen McGee & Associates, Inc. 34950 Chardon Road Suite 102 Willoughby Hills, Ohio 44094

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present Fifth of July

The Theatre Arts Area of Cleveland State University will present Lanford Wilson's Fifth of July from February 10 to February 26, at the Cleveland State Factory Theatre at East 24th St. and Chester Ave.

The play takes place in 1977 at a farmhouse in rural Missouri, which is home to Ken, a legless Vietnam veteran, and his lover Jed, a horticulturist. They are visited by Ken's sister, June, and her teenage daughter, and by Gwen and John-the former a hard-drinking, pill-popping heiress who aspires to be a rock star, the latter her wary-eyed husband and manager.

All are old friends from their college days, and former activists who had demonstrated for what they hoped would be a better world. The action centers on Gwen's

offer to buy the farm, which she plans to convert into a recording studio, and on Ken's Aunt Sally, who has come to the family homestead to scatter the ashes of her late husband.

Alternately funny and moving, it is deeply revealing of lost hopes and dreams and of the bitterness which must be fought back if one is to perceive the good which life can offer.

Curtain times are at 8:30 pm on Fridays and Saturdays, and 7:30 pm on Sundays. Matinee performances have been scheduled for February 12 and February 26, at 2:30 pm. Ticket prices are $6.00 for adults and $5.00 for students and seniors. Group rates are available for all performances. For reservations, call 216-678-2109 or 216-687-2113.

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