SexasPower

ThefilmCaravaggio,directedbyDerekJarman,takesamultifacetedlenstothe infamousMichelangeloMerisidaCaravaggio,anitalianpainterduringtheBaroqueera.Jarman doesnotdepictsafictionalizedCaravaggio,onethatisonlyslightlysteepedinhistoricalfact. Instead,JarmanportraysCaravaggioinatypicaldramabutinamannerthattakesaqueerlens toCaravaggioshumannature,anexistencerootedinsexasitrelatespowerwhichqueersthe notionofsexassolelyapleasureorprocreativepractice.Love(bisexuallove),violence,andart areJarmansthemes(Christiansen,LowLife,HighArt). ThefilmbeginswithCaravaggiolyingonhisdeathbedinashackneartheocean.This setisreturnedtooftenandactsasapointwhereCaravaggio,reconcilingwithhisexperiences justbeforedeath,projectstheaudienceintovariousstagesinhispast.Inthesesceneshe exhibitsobvioustormentandvaryingdegreesofawareness.Whilethereisnodialogueduring thesesceneshisvoicenarrateswithfeveredpoetrywhichreferencesthecharacterPasqualone andtheocean.PasqualonewasCaravaggiospseudoparentasanorphanandalsothefirst personCaravaggiohadasamesexsexualexperiencewith,instillinganontypicalpedagogyof hissexuality.However,forthetimethiswasnotuncommon:TheItalianRenaissanceledtoa somewhatmoreopenattitudetowardmalemalesexuality(FindingOut,18). DuringthesedeathbedscenesCaravaggioisaccompaniedbyJerusaleme.Jerusaleme resembleswhatCaravaggiowastoPasqualone.However,Caravaggioseemstohaveagreat dealofconflictwithPasqualonewhereasJerusalemeisdeeplydevotedtoandlovingof Caravaggio.HetookJerusalemeasalifelongapprenticeandcompanionwhenJerusalemewas justalittleboy.Jerusalemehasaspecialcharacteristicwhichmightexplainwhyhisfamilysold him.Heisdumb,inthathecannotspeak.HecanhoweverhearandinthiswayCaravaggiocan

teachhimtogrindpigmentsandmixpaint.Theirrelationshipisbuiltnotonsexualattractionbut onasymbioticrelationship. ThefactthatJerusalemecannotspeakplaysasubtlebutimportantrole.Hewearshis languageonhisface,hecannotlieandhecannotmanipulatewithhiswords.Healsocannot conveyhowheseeshimselfintermsofabinary.Jerusalemeonlyacts,withouttheconstructof languageadulteratinghischaracter.Inaddition,heiscompletelydependentonCaravaggioand inthiswaytheyactoutmoreofahomosocialrelationshipthanahomosexualone.Both relationshipsdoexistandtheyactasasortofspectrumbetweenwhichallothersexualized characterswithinthefilmfall.Jerusalemeexistsatthebottom,orastheonewiththeleast powerandthemostdependency,whereasCaravaggioexistsatthetopandissupersededonly byPasqualonehimself. Caravaggiospowercomesfromhisartwhichinturnactsasbothreputationanda sourceofincome.Oneofthefirstscenes,whenCaravaggioisstillunderthecareof Pasqualone,involvesayoungCaravaggioluringanoldmantohisbedroomusingartashisbait. Hegetstheoldermandrunkandparadeshimaboutwithhistrousersabouthislegwhilehe simultaneouslywearieshimandmockshimwithhisyouth.Whentheoldmanisdrunkandtired hebrandishesaknifeandthreatenstheoldmansayingIamanartobjectandveryexpensive! Inthiswayheconflatessellinghisartwithsellinghisbody(Richardson,QueeringaGay Cliche).Thisconflationwilllaterpermeatethecontentofhisartandthemotivationsbehindhis craft.Followingthisscene,acardinal(perhapssomehowrelatedtotheoldman)takes Caravaggiointohiscareaswellastakeshisknife. ForCaravaggio,thistransitionisfromonehomosocialenvironmenttoanother.Hisonly companionsareboysintheorphanage.Heisfavoredbythecardinalforhisobviousartistic talentanditsinsinuatedthatthecardinalgetsmorethanjustpaintingoutoftheyoung Caravaggioimplyingfurtherpedagogyofsexuality,thistimefromapersonofhighoffice.This

relationshipqueersessentialistnotionsthatsexualityisinherentandheterosexualityispure. Thecardinal,returnsCaravaggiosknifeinreturnforhisfirstpainting.Onthebladeis written,NoHope,NoFear,andthisactsasamottobywhichCaravaggiolives.Heaffirmsthis byrunningthebladethroughhisteethinfrontofthecardinal.Thisact,whichpertainstoatheme inthemovie,showsthatCaravaggiorefusestobelieveinGod(bothhopeandfear)butaccepts thathemustworkwithintheinstitutionoftheCatholicchurch,thedominantsystemofthistime, inordertogetwhathewants. HispositionasareputablepainterworkingfortheChurchallowsCaravaggiotoavoid beingchargedwithSodom.Atonepoint,thenephewofthePopethreatensCaravaggiowith thischarge,ifhedoesnotstopslanderingthenephewsname.Thisisagoodexampleofhow certainabolishedpracticeswereignoredsolongasonebelongedtotherightclass.Inaddition, thechurchalsobestowsasignificantamountofwealthonCaravaggiowhichplaysasignificant roleinhissexualrelations. Onedaywhileinaparlorfilledwithlaymen(preferredbyCaravaggioforbothhishistory ofbeinganorphanandfortheabilitytopickupmen)Caravaggiofallsinloveatthefirstsightof Ranuccio.Ranuccioischaracterizedaslowerclassbyahathewearsmadeofnewspaper. Onfirstglance,RanucciogivesCaravaggioaratherdistastefullook.Oneassumesthat RanucciohasadegreeofhomophobiawhereasCaravaggiodoesnot.Thisisbecause CaravaggioexistsinadifferentsystemthanRanuccio.Ranuccioisasubjectoftherulersat hand,theCatholicchurch,andisthereforesubjecttoheterocompulsorybehaviors.Caravaggio existsdifferentlyasasubjecthehasamuchhigherdegreeofprivilegethanRanuccioand experiencestovalidateit. Davide,Caravaggiosfriendandlover,noticeshisinterestinRanucciobutdoesnot seemoffended.Heonlysaysyouwanttheimpossible,inferringthatRanuccioisstrictly heterosexual.Caravaggioexistsoutsidetherealmofcommitmentqueeringthenotionof

monogamousrelationshipsbeingtheonlyhealthykindofrelationship.Thisisduetohisprestige andhispowerandCaravaggioisconvincedthathecanusethemtogetRanucciotofallinlove withhim.ItshouldbenotedthatdespitehislackofcommitmentCaravaggiotreatshislovers withrespectandhumanityheisnotjustanoversexualizeddog. Caravaggio,DavideandRanuccioareallverymasculinemen.Noneofthemexhibit effeminatecharacteristicsatanytimewhichqueertheusualcliches.Caseinpoint,thesymbolic scenethatbeginsCaravaggiosloveaffairwithRanuccioinvolvesDavideandRanuccioboxing oneanotherwitharopeconnectingthematthewaist.WhenRanucciodefeatsDavide, RanucciosgirlfriendcutstheropeandproclaimsRanucciothevictor.Immediatelyfollowingthe announcementRanucciomeetsCaravaggioseyesandsmiles. Thisisoneofmanydirectexamplesofpoweratplayinthecourseofthefilms examinationofsexuality.Thefilmworksinmanywaystoqueertheessentialistideaof procreativesexorsexaspleasurebyexhibitinghumansexualityasaformofpower.Thisisan exampleofthemultiplicityofforcerelationsthatFoucaultdiscussesinAHistoryofHuman Sexuality(Foucault,1629).Here,theusualpowerofwealthorgovernmentfeignsinlieuofa moreprimalpowerpowerdoesntalwaysderivefromasuperstructuralposition(Foucault, 1629).Thismultiplicityworksbecausepowerisexercisedfrominnumerablepoints,especially whenitcomestosexualrelations(Foucault,1629). Nevertheless,moneyandclassdoexhibittheirownforcerelation.Followingtheboxing matchCaravaggiohasRanuccioactasasubjectforoneofhispaintings.Ranucciobringswith himhisgirlfriendLena.Caravaggiowearsanintensityonhisfacethroughouttheentirepainting, asifthepowerofhiseyesandtheirrelationshiptohiscraftwillattractRanuccio.Whilehe paintsRanuccio,heputscoinsinRanuccioshandwhothenputstheminhismouth.Whenthe paintingisfinishedCaravaggiotakesthefinalcoinbetweenhisownteethandforcesRanuccio tobiteitfromCaravaggiosmouth,addingittothecollectioninthecheeks.Thisclearlyshows

CaravaggiosuseofhisprivilegestoenticeRanucciointoaromanticrelationship. LenaisobviouslydispleasedbutRanuccioconsoleshersayinghesonlydoingitforthe money.WhilehesaysthisLenawearscoinsundertherimofthewrapthatbindsherhair. Thiswrap,inadditiontoherdirtyfeatures,symbolizesshetoobelongstothelowerclassand thecoinssymbolizeshesharesRanucciosdesire.Thesesymbolsexhibitanintersectional observationofbothsexualityandclass.Ranucciothrowsacoinatherandthensexually gratifieshertoreassurehisheartiswithher. WhenRanuccioandCaravaggiokissforthefirsttime,itisRanucciowhodoesthe kissing.TheeventisnotsparkedbyCaravaggioswealthbutratherbyCaravaggiobeatinghim inaknifeduel(referringbacktoaprimalpowerplay).WhenthewhistleisblownbyJerusaleme (LenaandDavidearealsopresent),theduelisassumedoverbutasRanuccioapproaches CaravaggiowithanairofcasualnesshestabsCaravaggioandthenkisseshim.Caravaggio wipeshisownbloodacrossRanucciosfaceandsaysbloodbrothers.Thisistheclosestthe filmevercomestousingthetermhomosexual(thetermitselfwasthoughttobenonexistent untilrecenthistory). Inthefollowingscenes,LenawashesthebloodfromRanucciosfaceandtriestobe upsetwithhimbutultimatelyfallsintothehaywithRanucciobecauseofhisstrengthDavide cleansCaravaggioandtendshiswound.TherelationshipsRanuccioandCaravaggiohavewith theirotherpartnersexhibittendernessdespitetheirobviousinfidelityqueeringthenotionthatone canonlybeinlovewithoneperson.DavidehasbeenprovenwrongandLenaisonlypartly upsetwithRanuccioexhibitingbisexualbehavior. CaravaggioexhibitshisownbisexualitywhenheinvitesRanuccioandLenatoaball. Uponreceivingaclassydressandapairofpearlearrings,LenakissesCaravaggiowho respondswithpassion.ThisshowstheassumedhomosexualCaravaggioactsunder nonliminalboundariesofsexuality.Ranucciolooksonwithsomedismay.Theplotthickens.

Theballisacelebrationoftheunveilingofapainting.Thepaintingitselfwascraftedwith asubjectwhoisaveryboyishlookinggirl,onewhoisidentifiedasaboy,passesasone,butis assumedtobeawomanbysexbasedtraits.Thecommissionforthepaintingcomesfroman unlikelyalliancebetweenamorallyblindloanagentandthecardinal(arelationshipworth examiningonitsown).Theblackgarbedagenttellsthecardinalthathewantsthethemeofthe piecetobeprofanedlove.Whenthepaintingisunveileditshowsanudemalechild. ThispaintingactsasametaphorforCaravaggiosdisputewithPasqualone.While Caravaggioliesonhisdeathbedheseemstobelievethatheisguiltyofagreatdealofterrible things,includingthedeathofLena,herunbornchildandRanuccio(whomCaravaggiokillsoutof moralobligationdespitehisattractiontoRanuccio).Heseemstobelievethathisactionsledto theseterriblethingsandheconflicts,withgreatagony,againsthissexualexperiencewith Pasqualone.However,JarmansuggeststhatCaravaggiowasaproductofmanyinfluences,not justPasqualone.Inreality,CaravaggiowasusedbytheCatholicchurchinwayshedidnot realize. Caravaggiospersonalpurposewastocaptureexperienceinmatter,inpaint,inart,and hehimselfsuffersagreatdealtodoso.InthefinalsceneofthefilmPasqualoneandayoung CaravaggiostumbleintoafuturesetoftheolderandnowdeceasedCaravaggio.The deceasedbodyofCaravaggioisheldbytwoordinarymen(commoners)atthelegsandbehind himaretwoordinarywoman(alsocommoners)mourning.Hishandsandfeetbearthepuncture woundsofChrist,underhisribisthegashgivenbyRanuccio,alsoresemblingChrists.Inthis finalmoment,JarmandeclaresCaravaggioasasacrificeforallofmanssins,assomeonewho sharedacommonalitywiththeactualmanandnottheparadigmaticmenoftheCatholicchurch. TheverylastshotinCaravaggioisoftheartistdressedinblack,withablackrosary betweenhishandsandtwocoinsoverhiseyes.Thesamepairofmenwhichheldhimandthe samepairofwomenwhomournedaredressedinblack.Jerusalemeweepsathisbedside.

ThisfinaldisplayrevealsCaravaggiosdeathascommonandJerusalemesloveforCaravaggio beyondthepowerplayofsexbutwithintheboundariesofgenuineaffection. Asawhole,thefilmlooksatsexualitywithanearblindeyetonotionsof heteronormativity.Therelationshipsthatensuedonotcomeoffasperversebutratherasa naturalplayofpowerthroughsexbetweenhumanbeings(atruthalsofoundinthe heteronormativesocietyofthepresentday).Itshowshowthemultiplicityofforcerelations canexhibitbothupwardinfluence(inthecaseofRanucciousingCaravaggio)anddownward influence(inthecaseofPasqualonetoCaravaggiotoJerusaleme).Thecontentofthefilm showshowhomosocialbondingcangohandinhandwithhomosexualrelations.Itqueersthe notionofabinarybyshowingmenwhoarepresumablystraightorhomosexualengagingin bisexualbehavior.Lastly,itexaminesthepedagogyofsexualityinasystemthatdoesnt outwardlyenforcelawsagainstpedophiliaandquestionsthefreedomsadultsshouldenjoyin theirrelationshipswithchildren(FindingOut,162).InCaravaggioscase,thisishowhis sexualitywaslearneditwasntchosen.

WorksCited

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Richardson,Niall."QueeringAGayClich:TheRoughTrade/SugarDaddy RelationshipInDerekJarman'sCaravaggio."Paragraph28.3(2005): 3653.AcademicSearchPremier.Web.25Apr.2013.

Foucalt,Michel.FromIdeologyandIdeologicalStateApparatuses.TheCritical Tradition:ClassicTextsandContemporaryTrends.Ed.DavidRichter.NewYork: St.MartinsPress,1989.16271636.Print.

Alexander,Jonathan.Meem,Deborah.Gibson,Michelle.FindingOut:anintroductiontoLGBT studies.California:SAGEPublications,2010.Print

Caravaggio.Dir.DerekJarman.Perfs.NoamAlmez,DawnArchibald,SeanPenn.BritishFilm Institute.1986.Film.