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Cruising: A Controversial Chapter in Queer Cinema
Al Pacino’s illustrious career in Hollywood includes iconic roles in films like The Godfather and Scarface, showcasing his versatility across various genres. While often recognized for his contributions to mob and action films, Pacino’s impact extends into a more contentious area of cinema: LGBTQ representation. His role in the 1980 crime drama Cruising has earned him a notable place in queer cinematic history, despite the film’s tumultuous reception.
In Cruising, Pacino portrays Steve Burns, a young police officer seeking promotion within his precinct in New York City. Offered a chance to investigate a series of murders targeting gay men, Burns delves into a hidden world of leather bars and BDSM. As he immerses himself in this undercover assignment, the lines between his professional duties and personal identity blur, culminating in an ambiguous ending that critiques societal repression.
Directed by William Friedkin, who gained fame with the horror classic The Exorcist, Cruising presented Pacino with a challenge that diverged from his historic portrayals of masculinity. His performance as Burns navigates the complexities of identity and sexuality, as he increasingly grapples with the dissonance between his undercover persona and his heterosexual life.
‘Cruising’ Faced Heavy Backlash
The film encountered substantial criticism upon its release. Many activists from the New York City gay community accused it of perpetuating negative stereotypes of being hypersexual and violent. Interestingly, the film’s inspiration, drawn from journalist Arthur Bell’s real-life crime reports, led Bell himself to advocate against the film. During production, protests against Cruising were so intense that considerable audio post-production was required to mask the demonstrations. Protest leaders even petitioned then-Mayor Ed Koch to revoke the film’s shooting license, a request that he ultimately declined. Additionally, the film faced strict editing to conform to R-rating criteria.
Pacino later referred to the film as “exploitative” in his memoir Sonny Boy, expressing feelings of guilt regarding its portrayal of the LGBTQ community. He recounted donating his earnings from the film to charity as a response to the backlash it received. Unlike the warm reception of The Exorcist, Cruising was met with scathing reviews and lackluster box office performance. Friedkin maintained that his intention was to tell a crime story situated within the gay community, rather than to create a film focused specifically on queer narratives. Nevertheless, Cruising holds critical value as an artifact in queer history.
‘Cruising’ Commemorates a Bygone Era
This film captures a historical moment in New York City’s gay history—the vibrant leather bars where queer individuals gathered to freely express their sexuality. These venues played a pivotal role in shaping the city’s LGBTQ community, yet their legacy remains largely untold aside from occasional depictions in contemporary media such as Ryan Murphy’s American Horror Story. Despite the controversy surrounding the film, its significance as a historical document is undeniable.
Cruising was filmed in actual leather clubs operating during the 1970s and 1980s, and many background performers were drawn from these communities. Some actors even left the project due to the protests. The film authentically portrays the culture of these venues and sheds light on the risks faced by queer and transgender individuals at the time, particularly in their interactions with law enforcement. While it may be gritty and provocative, it serves as a rare time capsule with intrinsic historical importance.
Pacino’s engagement with queer narratives was not new; his 1975 film Dog Day Afternoon also explored bisexuality and transgender issues through his character’s relationship with a transgender woman. Although Cruising is often viewed as a commercial disappointment for both Pacino and Friedkin, it remains a poignant and honest reflection on an underrepresented chapter of LGBTQ experience.
Release Date
February 15, 1980
Runtime
102 Minutes
Source
movieweb.com