Clapham junction gay sex scene. Clapham Junction on TV.



Clapham junction gay sex scene

Clapham junction gay sex scene

Share via Email This week Channel 4 is screening a season of programmes - though the word 'season' makes it sound a good deal heftier than it is - to mark the 40th anniversary of the Sexual Offences Act that decriminalised homosexuality.

Clapham Junction is troubling for all sorts of reasons and, after I watched it on a preview DVD, I slept more than usually badly. It thrums with urban menace: Set in a London that swelters as the city did in , every character, be they saintly or impossible, has an unnerving sheen on their upper lip, and every room, be it grand or meagre, is ruled by the clack and whirr of a fan. Its men, so handsome and muscled, bring to mind bursting pieces of ripe fruit: The plot, Hardy-esque in its reliance on mishap and coincidence, features a homophobic murder similar to that of year-old Jody Dobrowski, who was beaten to death on Clapham Common in But this killing is set against a backdrop of ostensible tolerance: All this is deliberate, of course.

In an interview last week, Elyot said that he was asked to write a film that went into the question of why 'at the same time that there seems to be a growing tolerance of homosexuality in society there also seems to be a steady amount of homophobic violence'.

I'm not sure that he answers this question, exactly, but he sets up the contrast with the chilling clarity of a black-and-white photograph. I guess that my problem with Clapham Junction is as much with what it doesn't show as with what it does. It's brilliantly written its middle-class straight characters speak in sentences so plump with hypocrisy, you could pop them with a pin , thoroughly gripping, marvellously acted, and all the rest of it. But, still, it just feels so extreme - so old-fashioned, in fact.

There are still disturbingly few gay roles in mainstream television and, when they are written, it's so often like this - a massed herd, being forced to make a point, coming on so In the same interview, Elyot complained that you rarely see gay life depicted on TV, but what he meant, really, is that gay sex lives are rarely depicted he complained that Sean, the gay character in Coronation Street, is allowed to lust after other men but that 'you don't really go into details of what it is about'.

Why, I wonder, does he want this to be so? Who, really, wants to be defined by sexual orientation alone? Can't characters be incidentally gay, in the same way that they are incidentally straight? This is not to deny anything: He thinks the rest of us are perturbed by gay men's 'primal urge to sodomise each other', and while it's perfectly true that lots of people probably are, there's also a sizeable constituency who barely think about it.

This is not down to horror; it's down to knowing gay men. Friends of mine will turn up for coffee, tell me about the bloke they met on Gaydar - 'he was round in 15 minutes! I'm not shocked by this; nor am I bored by it. It ranks with a girlfriend telling me they've met a gorgeous man.

You ask a few questions, grin at them, and then talk about something else. When John Inman died earlier this year there was a raft of commentary from gay men, some of them - like Russell T Davies, the writer of Queer as Folk - sticking up for his brand of camp, and others deriding him for perpetuating a stereotype. If gay men were once mincing and neutered, these days they're priapic to the exclusion of everything else. Cottages, cruising grounds, delirious no-strings sex. What about the other stuff they do?

No one, not even the randiest man alive, lives only for sex. In terms of the arts, this approach is leading us down a reductive cul-de-sac. I thought this as I watched Daphne, a BBC drama shown in May about the writer Daphne du Maurier, in which her lesbianism was made to seem vastly more important than the novels she wrote, and I thought it as I watched Clapham Junction.

True equality, I'm afraid, is quite boring. It involves writing characters who fit their sex lives in around their work, their ageing parents, their moods; it might even involve writing characters who are utterly faithful or - God forbid - who never manage to get laid at all believe it or not, such gay men do exist.

In Clapham Junction's opening scene, a gay writer played by Rupert Graves, pitches his idea to a TV commissioning editor, only to be told that it is old hat. But the irony is that, in an odd way, the long-haired TV neanderthal is right.

Most of us have moved on. It's just weird that it's taking even gay writers such an age to realise it. Email your views to review observer.

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Clapham-Junction(legendado)



Clapham junction gay sex scene

Share via Email This week Channel 4 is screening a season of programmes - though the word 'season' makes it sound a good deal heftier than it is - to mark the 40th anniversary of the Sexual Offences Act that decriminalised homosexuality. Clapham Junction is troubling for all sorts of reasons and, after I watched it on a preview DVD, I slept more than usually badly.

It thrums with urban menace: Set in a London that swelters as the city did in , every character, be they saintly or impossible, has an unnerving sheen on their upper lip, and every room, be it grand or meagre, is ruled by the clack and whirr of a fan.

Its men, so handsome and muscled, bring to mind bursting pieces of ripe fruit: The plot, Hardy-esque in its reliance on mishap and coincidence, features a homophobic murder similar to that of year-old Jody Dobrowski, who was beaten to death on Clapham Common in But this killing is set against a backdrop of ostensible tolerance: All this is deliberate, of course. In an interview last week, Elyot said that he was asked to write a film that went into the question of why 'at the same time that there seems to be a growing tolerance of homosexuality in society there also seems to be a steady amount of homophobic violence'.

I'm not sure that he answers this question, exactly, but he sets up the contrast with the chilling clarity of a black-and-white photograph. I guess that my problem with Clapham Junction is as much with what it doesn't show as with what it does.

It's brilliantly written its middle-class straight characters speak in sentences so plump with hypocrisy, you could pop them with a pin , thoroughly gripping, marvellously acted, and all the rest of it. But, still, it just feels so extreme - so old-fashioned, in fact.

There are still disturbingly few gay roles in mainstream television and, when they are written, it's so often like this - a massed herd, being forced to make a point, coming on so In the same interview, Elyot complained that you rarely see gay life depicted on TV, but what he meant, really, is that gay sex lives are rarely depicted he complained that Sean, the gay character in Coronation Street, is allowed to lust after other men but that 'you don't really go into details of what it is about'.

Why, I wonder, does he want this to be so? Who, really, wants to be defined by sexual orientation alone? Can't characters be incidentally gay, in the same way that they are incidentally straight? This is not to deny anything: He thinks the rest of us are perturbed by gay men's 'primal urge to sodomise each other', and while it's perfectly true that lots of people probably are, there's also a sizeable constituency who barely think about it.

This is not down to horror; it's down to knowing gay men. Friends of mine will turn up for coffee, tell me about the bloke they met on Gaydar - 'he was round in 15 minutes! I'm not shocked by this; nor am I bored by it.

It ranks with a girlfriend telling me they've met a gorgeous man. You ask a few questions, grin at them, and then talk about something else. When John Inman died earlier this year there was a raft of commentary from gay men, some of them - like Russell T Davies, the writer of Queer as Folk - sticking up for his brand of camp, and others deriding him for perpetuating a stereotype. If gay men were once mincing and neutered, these days they're priapic to the exclusion of everything else.

Cottages, cruising grounds, delirious no-strings sex. What about the other stuff they do? No one, not even the randiest man alive, lives only for sex. In terms of the arts, this approach is leading us down a reductive cul-de-sac. I thought this as I watched Daphne, a BBC drama shown in May about the writer Daphne du Maurier, in which her lesbianism was made to seem vastly more important than the novels she wrote, and I thought it as I watched Clapham Junction.

True equality, I'm afraid, is quite boring. It involves writing characters who fit their sex lives in around their work, their ageing parents, their moods; it might even involve writing characters who are utterly faithful or - God forbid - who never manage to get laid at all believe it or not, such gay men do exist.

In Clapham Junction's opening scene, a gay writer played by Rupert Graves, pitches his idea to a TV commissioning editor, only to be told that it is old hat.

But the irony is that, in an odd way, the long-haired TV neanderthal is right. Most of us have moved on. It's just weird that it's taking even gay writers such an age to realise it. Email your views to review observer.

Clapham junction gay sex scene

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4 Comments

  1. What exactly is so bad about having loads of sex, or doing it in parks, how does that harm people sitting at home having dinner parties exactly? What you want is a boring soap.

  2. What about the other stuff they do? Although you obviously have no issue with shagging about nor do I! I like that variety.

  3. He thinks the rest of us are perturbed by gay men's 'primal urge to sodomise each other', and while it's perfectly true that lots of people probably are, there's also a sizeable constituency who barely think about it. It's brilliantly written its middle-class straight characters speak in sentences so plump with hypocrisy, you could pop them with a pin , thoroughly gripping, marvellously acted, and all the rest of it. However, we all know that there are people who aren''t out or who simply get a thrill by the excitement of it all and that this does go on

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