1920 French chandelier in nickel-plated bronze. From Art Deco, Art Nouveau & 20th Century Decoratif Arts Group, FB.
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1920 French chandelier in nickel-plated bronze. From Art Deco, Art Nouveau & 20th Century Decoratif Arts Group, FB.

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Alex’s feelings being symbolized as fire and Henry’s being symbolized as water
I made a post like this time ago, but this one is better.
The first example you can see is their zodiac signs. They immediately link Alex to fire (Aries) and Henry to water (Pisces).
Alex’s feelings are fire, intense, they can burn him, strong, when he feels them, he feels them in an intense way (She doesn’t worry about going public with it; feelings don’t consume her the way his do.)
Henry’s feelings are water, deep, they can drown him, clear (genuine), when he feels something, he feels it deep (Every time something terrible happens to you from then on, it doesn’t just stop at the bottom—it goes all the way down.)
Now going directly at the book. It’s present through all of it but specially during chapter 9-10.
Alex is paired with phrases like “having a fire under his ass” or “you’re flying too close to the sun”.
In chapter 9, there are sentences like these “I kind of can’t stop thinking about you all sunburned and pretty” and “with fingers that smell like smoke” and “He watches a drop of water roll down Henry’s perfect nose and disappear into his mouth” Those are little sentences, little symbolism not exactly important to the plot (except maybe the last one, although it might be a reach from my part).
I kind of can’t stop thinking about you all sunburned and pretty
Sun symbolizes life, brightness, positivity, etc etc. This is Alex saying than he can’t stop thinking about Henry happy (and away from the palace). The sun is also made of fire. Who is deeply tied with fire all around the book? Alex.
with fingers that smell like smoke.
Henry spent the day with Alex and his family (Nora is basically family too), on a place really important to him, where not everyone gets to go. This could be Alex being all around, kind of seeping through him. Being obviously in love with him, and that having an effect in him.
He watches a drop of water roll down Henry’s perfect nose and disappear into his mouth.
The drop of water (Henry’s feelings) disappear into his mouth, he doesn’t say them.
There’s also this one
“I guess that makes you the North Star?”
Stars are made out of fire, in some way. This is Alex seeing Henry like how Henry sees him (alive, bright) because when Henry thought than Alex loving him would set him on fire, is not only because Casey enjoys symbolism, but also because Alex was “happy and animated and fully alive, a person living in dimensions I couldn’t access”.
Stars shine in the same way the sun does, but they don’t appear like they do because of the distance between us and the stars. This is Alex seeing Henry like how Henry sees him (I talk more about it at the end of this post), Henry is as bright as Alex, it’s just harder to see because he’s more guarded, he keeps his distance, he keeps himself to himself. Alex is more open compared to Henry, so it’s easier to see Alex as a sun rather than Henry. Meanwhile Alex is fire and Henry is water, through the book Henry gains fire elements. A representation of Alex’s influence on him.
Then at the lake, the symbolism really starts.
The lake is made out of water, the lake is Henry’s feelings (a parallel to Alex on chapter 11 saying Sometimes I feel like a funny-looking rock in the middle of the most beautiful clear ocean when I read the kinds of things you write to me.)
The water ripples quietly around him as he slides his hands up to hold Henry’s face in both palms, tracing his cheekbones with the wet pads of his thumbs.
In this scene, the lake is Henry’s feelings. They were surrounded by Henry’s feelings, so strong (a mix of his own feelings for Alex and how he felt about Alex’s confession) than it was the width of a lake. That’s why they were inside the lake when this confession happened.
The water ripples quietly around him, Henry’s feelings being shown through their surroundings.
Tracing his cheekbones with the wet pads of his thumbs. Alex is touching Henry with wet hands. Wet by the lake, wet by Henry’s feelings. He’s surrounded by them, Henry helped him not take it ten years into the future, and just be, even if unknowingly, so during Alex’s confession, he was swimming on Henry’s feelings. The credit was not Henry’s, obviously, but I think than if Alex never started going out with Henry, maybe this change would have took longer to happen.
His hands are wet, he is affected by Henry’s feelings, and he touches Henry while being affected by his feelings. He tells him about having a fire under his ass and slowly getting rid of it, to which Henry had something to do with, and he tries to confess. This whole line explains the entire scene perfectly.
Abruptly Henry shifts, ducking beneath the surface and out of his arms before he can say anything else. He pops back up near the pier, hair sticking to his forehead /// Henry spits out lake water and sends a splash in his direction,
Henry gets away from Alex, but he’s still in the lake, still on the water. He’s feeling here, he doesn’t ignore his feeling for “Alex’s sake” (what Henry was probably thinking).
Hair sticking to his forehead, the water, his feelings, are still present. Henry spits out lake water, he tries to get rid of them, somehow. To ignore them, to not focus on his own feelings at the moment.
and sends a splash in his direction, he pushes his feelings away from himself.
as he turns and starts hauling himself out of the water and onto the dock.
Henry is the first one to get out of the lake, apparently, running away from Alex’s feelings, but using the symbolism, also running away from his. Not denying himself what he felt, since he already knew, but trying to ignore it. Trying to ignore his feelings and the fact than Alex reciprocated because that just couldn’t work out. It didn’t make sense than Alex loved him back.
Now chapter 10, this one has the most fire/water symbolism.
It’s dark and pissing down rain when they land in London / Fat raindrops are pelting right into his eyeballs.
Basically, Henry breaking down. Henry's feelings being too much for him to handle, too deep, too bottomless, to keep inside of him anymore. Now, his feelings are the rain. It was dark and pissing down rain. Strongly raining. Henry knew Alex loved him back, and he couldn't deal with that. He couldn't deal than, when it all would eventually end, as he thought it would, he would not only break his own heart, but Alex's too.
At the moment, he still believed than he deserved nothing, than he was only born to be a puppet for the crown. Than he didn't deserve happiness, didn't deserve Alex's love because, what was there of him to love? However, even if he didn't feel deserving of happiness, of Alex's feelings, he still loved him. He loved him strongly like the rain outside.
Rain outside, than, by the way, was soaking Alex.
Alex was soaking in Henry's feelings the moment he arrived at Kensington. One, because Henry's feelings were so deep and strong than occupied all of London, and two, because those feelings were directed specially towards Alex.
Henry paces over to the elaborately carved fireplace across the room and leans on the mantelpiece.
The fireplace. The fireplace has a big part in this scene omg.
The fireplace, who is continuously being described with fire-related elements? Alex.
So the fireplace is a tangible representation of Alex’s feelings, he paces over it. He’s deciding whatever he should accept Alex’s feelings or not. Whatever he should let Alex confess or not. Deciding exactly what to do with them. Because giving Alex up nearly killed him, but if he accepted his feelings, everything else would be so much more complicated. They would have to fight, and as we see later in the scene, Henry doesn’t think of himself as a fighter, but a coward.
“I fucking love you, okay?” Alex half yells, finally, irreversibly. Henry goes very still against the mantelpiece.
Alex said it, Henry can’t just ignore it or deny it anymore, he goes still against the mantelpiece, he doesn’t pace over it anymore. Alex said it, there’s no turning back.
A small click cuts the silence: Henry has taken his signet ring off and set it down on the mantel.
He takes of his signet ring (a symbol of monarchy, something than probably was passed down to him, which means than it’s also a symbol of history. The prince of Wales signet ring [Charles ring] reads: Ich Dien. I serve. A tangible representation of his service to the country. Of his responsibilities) and he puts it in the fireplace.
The fireplace, which represents Alex’s feelings.
He takes off his ring, takes off monarchy and that sense of expectation than comes with it, and sets it on top of the fireplace. Leaves the two possible futures for him side by side. The ring, meaning monarchy, having to pretend someone he’s not, probably marrying a woman and stay in the same place and system than caused him so much pain. But than, nonetheless, would be the easier choice.
Or, a possible future with Alex. A future they both would have to fight tooth and nail for, and maybe, will not even happen. Maybe they will not be accepted. Maybe it all would turn out wrong. Maybe Alex would regret in the future. But than, even if it’s the most complicated and unknown path, is the one where Henry would be able to be himself for once, and where he would have Alex at his side.
He holds his naked hand to his chest,
He’s not used to not wearing the ring, to have a choice, to decide for himself.
his naked hand, bare, exposed, the real him, how he actually feels about the whole situation, about the choice he has to make. Just Henry, not Prince Henry.
He holds his hand to his chest, to his heart, here we have a little bit of foreshadowing you could say, than he makes the decision based on his heart, on his feelings. He chooses what he feels.
Alex yanks the soggy note out of his pocket, I wish there wasn’t a wall,
Soggy, wet by the rain. Wet by Henry’s feelings. After all, he did put his real feelings on the note. But this is not what it is about. It’s because then more than ever the note was true. Henry did wish there wasn’t a wall, Alex loved him back, if only Henry could accept it, if only there wasn’t a wall.
staring at a point on the mantel somewhere
He stares at the mantel meanwhile he confesses. He talks about how “it was never supposed to be an issue” while staring at the mantel, at the two possible futures for him.
“I never thought I’d be standing here faced with a choice I can’t make, because I never . . . I never imagined you would love me back.”
He was still staring at the mantel. What was he supposed to choose, the path than was written since before he was born, the easy path yet the unhappy one, or the unknown path, the one he didn’t know where would led them but than, still, it would led Henry to a more happy place, even if it will be more complicated.
He never had to think about what he would do given the situation, given than he thought than said situation would never happen. He never had to think, because he thought than he would always continue just as he was, than nothing would come and change it all.
He realizes, suddenly, Henry’s crying.
Henry’s feelings getting out, showing them, not being able to ignore them anymore.
the fire gone out.
This fire could refer to Alex’s feelings, or it could refer to the strong emotions subsiding, before, they were screaming, crying, now it’s calm, in some way.
If it refers to Alex’s feelings, it doesn’t change much. Alex’s feelings before were angry, irritated, he was screaming, trying to understand and make Henry understand than he should have control over his own life, now he’s calmer.
there’s a violent rain lashing against the big picture window, half-revealed by parted curtains.
What if I said than I actually adore this line?
Violent rain, lashing against the big picture window. Henry’s feelings being violent. He’s thinking things through, making a decision, and his feelings are strong, like a violent rain.
Half-revealed by parted curtains. He isn’t showing Alex all of his feelings, but he’s showing him some of them, which is more than he did the previous days, since here Alex is seeing the rain, even if it’s half-revealed by parts curtains. Before Alex came, in the USA it wasn’t raining, it was raining in London. Alex wasn’t in London, so Alex didn’t know about the rain until he came. Henry didn’t tell him about his feelings until Alex went for himself to talk to him. Now, it rains while Alex is in London, where he can see the rain. Henry shows him some of his feelings without Alex having to talk to Henry in order to understand them.
Alex says this some lines later: It’s time, he realizes, to start accepting only what Henry can give him.
He says it referring the Le Monde newspaper, but Alex also doesn’t open the curtains, he settles with the rain he can see through the half-revealed window.
Next to the clock on the mantel, Henry’s ring still sits.
He left it where it was the night before, meaning he’s still pondering over what to choose, except, Henry isn’t in the room anymore. He’s thinking outside, and he left the ring inside.
He makes this decision without monarchy in sight. He leaves the ring behind, it’s weight no longer in him. It’s a decision he has to make for himself, untouched and uninfluenced by monarchy, just him for once.
Just what Henry decides (he chooses his own happiness over what is decided for him) before Henry explains his decision.
Also, clocks (next to the clock on the mantel) can symbolize emotional overwhelm, caused by things like lack of time, or deadlines (Henry was on a deadline, in some way. He had to choose what he wanted to do, he couldn’t put it off any longer). Henry was emotional overwhelmed.
”I honestly have never thought I deserved to choose.” His hand moves, fingertips brushing a curl behind Alex’s ear. “But you treat me like I do.”
Not regarding fire/water but I wanted to add this.
Henry is not talking about how Alex told him than he deserved to choose, but about how he treated him like he deserved to choose.
Is not “but you make me feel like I do”, or “but you convinced me than I should” or anything else, is Alex treating him like he deserves to choose what did it to him.
Surely people told Henry about how he should choose over his own life, but they never treated him with the respect and understanding than one should receive when is in charge of making decisions. Alex held him accountable. He went to Kensington, went off on him for ghosting him, told him than they could figure something out, called him an obtuse fucking asshole, the whole deal.
Sure, the blame was on the monarchy (specially Henry’s grandmother [do not speak the devil’s name]) but part of the blame was also on Henry. Henry decided to run from the lakehouse, Henry decided to ghost Alex, no one forced him to do these things. And Henry endured a lot of brainwashing and manipulation from monarchy, which led to him making decisions like these ones, but at the end of the day, the decision was his. I feel like because of these brainwashing from monarchy most of his actions were excused, people (like Pez or Bea) felt bad for him, understood what train of thought led to these decisions, didn’t told him “hey that was an asshole move”. Alex did. He held him accountable for what he did.
Henry being held accountable this time might have made him realize than he did, in fact, choose to do all that. Mary didn’t force him to do it. Sure, she’s the reason why he did it, but Mary didn’t ask him to, she didn’t force him. Henry did it himself. Which means he can choose for himself, and than he should start choosing good things for himself, not choosing what will hurt him out of fear and resignation.
When Alex told him about how he could choose, how they could figure something out, he was serious. He genuinely believed it could work (and it did). I think than the lack of realism regarding Henry's decisions is what made him believe than he shouldn’t choose, than he didn’t deserve it. Aside from Henry probably never being granted a chance to have a voice regarding matters growing up (like which clothes he wore, etc which led him to believe he just couldn’t choose, shouldn’t choose, than everyone else knew what was better for him [given his position (he didn’t have the same responsibilities as normal people, he had the weight of a country on him, etc etc)] and also since very little his ideas and thoughts were probably dismissed, not only because that’s what almost everyone does to kids, but because if Henry had little control over his life now, in his 20s, imagine as a kid. His parents listened to him, surely, but did his grandmother? For years, since he was a kid, to a teenager, to now, she probably just smiled or frowned her lips regarding if she agreed or not, but never actually took anything he said seriously), it’s the way everyone else viewed what Henry wanted for himself. They viewed it as something unattainable.
For example, I imagine Bea and Henry talking about the future, and it’s always if. Imagine if this happened, if it went like this, if we did that. Never talking about a realistic future, because they didn’t realistically expect a good future (specially Henry) where they could actually choose. Alex makes it real, he genuinely believes it. It had been a long time since people genuinely believed Henry could have a good future made up of choices about his life he made by himself. I feel like even if Pez tried to be positive and talk about how it all would be okay eventually, he didn’t exactly believe it. Pez had been with Henry for years, he knew how monarchy was up close, something Alex didn’t truly know (for this part of the book. Alex heard stories, heard Henry complain, but he didn’t see it up close yet). Even if he tried to be genuine, to bring some positivity, some light to Henry’s thoughts, Henry saw right through him. However Alex genuinely believed it, which made Henry stop on his tracks and actually consider the possibilities.
Alex treats him like he deserves to choose not only because he does deserve to choose, but because Alex doesn’t see why he wouldn’t be able to choose in the first place. Alex has a supportive family, he doesn’t know monarchy first hand, he’s used to making decisions regarding his life, and even though he has heard Henry talk about how constricting and controlling monarchy, he didn’t really thought it would be as bad as it actually is. The idea than Henry literally has no decision over his own life (because he doesn’t. If he wants to do something other people have to approve of it. If they don’t approve, he has to deal with it) is crazy to him, because of own different that situation is to his own. His family supports him, he talks and gets along with everyone in his family (immediate family, at least), and the idea than Henry’s life is not only so so different, but than also, is like if it wasn’t his at all, is baffling to him.
listening to the rain slow to a drizzle
Henry’s feelings calm down, he’s happier, calmer, serene, no longer feelings the same emotions he felt before.
(These below have nothing to do with fire/water, but I wanted to add them)
Alex exhales a laugh. “Aren’t you gonna ask if I know how to waltz?” “No waltzing,” Henry says. “Never cared for it.”
Waltzing is this traditional dance, normally between men and women. Heteronormativity, you could say.
It was expected for him to waltz with Alex in this moment, as something romantic, but he doesn’t cared to follow these unwritten rules. He makes his own rules. He doesn’t cared for monarchy or appearances, this is him choosing a new life and a new start, making his own decisions rather than what’s expected of him, what’s appropriate.
He removes his hand and there, sitting in the center of Alex’s callused palm, is the signet ring. /// “Keep it,” Henry tells him. “I’m sick of wearing it.”
Henry is sick of having monarchy on him all the time, of wearing the ring, Ich Dien, I serve. When Henry wears it, it means he serves monarchy, he obeys, he gives all of himself to it, he’s part of it. When Alex wears it, is different. Not only Henry giving it to him is a representation of Henry giving away his position, a beginning to Henry fighting for himself, but of Alex wears is, I serve belongs to him now.
Alex doesn’t serve monarchy, he’s not even part of it. Even if Alex and Henry marry (which they do, but Henry abdicates before they do [Henry’s chapter]) Alex is still not welcome inside of monarchy. This is not about Mary, or even Philip, is about monarchy as a concept and what it stands for, and has always stood for. Alex, brown, American, bisexual, Mexican, is not welcomed inside of monarchy, but the ring is not about monarchy being on Alex now.
When the ring was on Henry, it was monarchy, when the ring was given to Alex, it stopped belonging to monarchy itself, and passing to just be Henry’s ring. This is Henry giving a part of himself to Alex. I serve has become not about Henry and monarchy and his country, but about their relationship. Fortifying their relationship, in some way.
he takes the chain off his neck and slides the ring on next to the old house key. They clink together gently as he tucks them both under his shirt, two homes side by side.
Monarchy is Henry’s home, so this can be both of their homes (Alex’s old house, and Henry’s life in the palace) being side by side, or about Alex’s both homes. Again, the ring no longer represents monarchy now it just means Henry, it became Henry’s ring, so Alex here is implying Henry is Alex’s other home, which I believe is the real meaning, what Casey intended.
In chapter 11 there is
If someone like that ever loved me it would set me on fire
Henry thought of himself as incapable of being loved, and the idea of being loved specially by someone like Alex (someone who, in his mind, was the opposite to him—happy, bright, alive) seemed so unreal, than he felt like it would probably set him on fire. Alex was the sun, happy and bright, so full of life he shone. Alex was someone who could be loved. And Henry loved him. And the idea of being loved back by him was impossible. It wasn’t mean to happen, and if it ever happened, it would burn Henry. Because Henry could not hold all of Alex’s form in his hands, since, in his eyes, he did not deserve to hold him, to have him. It would burn him, because Alex was the sun and Henry was nowhere near to deserve him.
This also parallels Alex in chapter 15 describing looking at Henry’s face like staring right into the sun (almost makes Alex want to look away, like he’s staring into the sun. He called Henry the North Star once. That wasn’t bright enough).
Alex describing Henry’s face as looking directly at the sun, parallels this. Alex is describing Henry as the sun, now, Henry is the one who’s bright, happy, and full of life. That’s how Alex sees him vs how Henry’s sees himself. They are each other’s suns. They see each other as the sun, even if the other doesn’t see themselves as the sun. Here, Alex is proving Henry wrong, because Alex’s love is not setting him on fire, since in Alex’s eyes, Henry is the sun, made of fire itself. You can’t burn fire with fire. Henry is fire itself, Henry is made of the same things Henry sees Alex being made of (example: life), he just doesn’t see himself as being made of that, as being worthy of that (example: happiness), and Alex comparing him to the sun proves him wrong, given than that’s how Alex sees Henry, rather than how Henry sees and describes himself.
Meanwhile I said and repeated a hundred times than Alex is fire while Henry is water, this is different, given than this is not based on symbolism, this is a direct parallel.
And if someone like that ever loved me it would set me on fire and the it was like looking straight at the sun are directly connected. The sun is made of fire, and Alex set Henry on fire with his loving. He made a sun out of Henry, changed him for the better.
And there’s also the “He wants to set himself on fire, but he can’t afford for anyone to see him burn” from chapter 12, where Alex just wants to give in to his emotions, to stop tying to hold everything together, but he can’t. He has to keep it together.
We don’t see things as they are, we see them as we are. • Anaïs Nin, French-American novelist (1903-1977)
Mary Magdalene in the Cave (1868) by Hugues Merle (1822–1881)

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Dont Look Up (2021)
Head, Kazimir Malevich
I can’t stop watching it.
For fans of chocolate and fans of Particle Annihilation Beam technology
Sherry Rusinack
Sherry Rusinack

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El baile de los 41 (2020) dir. David Pablos
More Cruella costumes! This time from “102 Dalmations”. Starting to realize the sequel had way better costumes …
El baile de los 8x5+1 (La película)
Cuando eres una persona LGBT, la fiesta tiene una dimensión política. Para nosotrxs, la fiesta es un espacio de emancipación, una celebración de deseos e identidades que históricamente han sido objeto de humillación y de persecución; deseos e identidades que todavía hoy son motivo de castigo –a veces castigos fatales– alrededor del mundo . La Fiesta –sí, con mayúsculas– es un espacio casi sagrado. Tan sólo asistir a una fiesta temática con las amistades, a una reunión gaymer, a un ball, a una fiesta en una locación misteriosa con cuota de acceso y diferentes DJs –por no hablar de organizar semejantes eventos– es casi un ritual para nosotrxs; esperamos estos eventos con emoción, generamos grandes expectativas, preparamos atuendos y planeamos gastos con anticipación, todo para disfrutar de una noche donde podamos gozar siendo lo que somos de manera libre, sin vergüenza, sin miedo al odio, a la persecución y al castigo. Quizás el ejemplo más obvio sea lo que la Marcha del Orgullo de la Ciudad de México representa para la gente LGBT que vive en otros estados y que año con año realiza el peregrinaje veraniego a la capital (gay) del país para celebrar el día (y la noche) más jota del calendario. En México, esta tradición tiene como referente más antiguo el mítico Baile de los 41 maricones.
Uno puede pensar que el Baile de los 41 maricones es un evento histórico nacional, un suceso que pertenece a todos los mexicanos, pero mi impresión personal es que no es así. Este evento forma parte de la historia LGBT en México y, para ser sincero, lo considero propiedad nuestra; no del “pueblo” de México sino de sus desviadxs. Quisiera pensar que muchas otras personas estarán más o menos de acuerdo conmigo. Es desde esta perspectiva que me fue casi imposible disfrutar de la película El baile de los 41. No voy hablar aquí de sus méritos técnicos o de la ausencia de ellos, sino de la manera en la cual este mítico evento fundacional para la cultura LGBT mexicana queda reducido a una película sobre maricones para el consumo heterosexual. Adelante con los spoilers.
Para empezar, hay que decir que El baile de los 41, de hecho, no trata sobre el baile de los 41 maricones sino sobre la relación entre el maricón no. 42, el diputado Ignacio de la Torre, y su esposa Amada, hija de Porfirio Díaz. Esta no es la historia de un baile, ni de 41 maricones –de hecho, el baile dura en pantalla menos de 4 minutos, incluyendo el vestuario, el peinado y el maquillaje– es la historia de un closetero que hace sufrir a su esposa por homosexual y mentiroso. La película nos muestra a un Ignacio que maltrata a su esposa de manera reiterada, ya sea teniendo relaciones de mala gana, forcejeando por arrebatarle una llave, arrastrándola fuera del cuarto, mintiéndole o simplemente distanciándose de ella. Nos muestra también un Ignacio que intenta pasarse de listo para avanzar su carrera política, que es terco, inmaduro y deshonesto. Por otro lado, la película nos presenta una Amada que inicia como una esposa entusiasta y amorosa, pero que se vuelve violenta al darse cuenta no tan gradualmente de que su esposo es homosexual. La película se esfuerza tanto por hacernos empatizar con Amada (y tan poco con Ignacio) que el intento de abuso sexual por parte de ella pasa casi inadvertido al ser visualmente menos dramático que la manera en que él la empuja y arrastra fuera del cuarto para resguardarse. Podría decirse que la parte central de la trama consiste en retratar cómo una mujer heterosexual sufre por culpa de un maricón. Malditos maricones.
La otra parte de la trama es el romance entre Ignacio y Evaristo, un abogado que Ignacio integra en el club de los 41 maricones. El trágico romance culmina en un hermoso cuadro al final de la película en el que Ignacio llora en silencio al enterarse que Evaristo murió estando preso, resultado de la redada en el baile. Esta parte de la trama pretende ser una especie de Brokeback Mountain llevada al Porfiriato. El problema con esto es que, por un lado, la película jamás se preocupa por hacernos empatizar con Ignacio y, por el otro, el romance entre ambos hombres no es verosímil. La película muestra a Ignacio y a Evaristo teniendo relaciones sexuales en repetidas ocasiones, pero no los muestra construyendo la intimidad que se asume entre ellos hacia el final de la película. Resulta difícil creer que estos dos personajes realmente están enamorados; quizás sería más fácil pensarlo si al menos se besaran de lengüita, pero no lo hacen. En fin, la falta de desarrollo de ese romance en pantalla provoca que el último cuadro de la película no sea tan conmovedor como pretende serlo (a diferencia del cuadro final de las dos camisas colgadas en la puerta del armario en, de nuevo, Brokeback Mountain). No sé, a lo mejor para los malditos maricones el amor se reduce sólo a coger.
Quizás el punto que me parece más crítico de “El baile de los 41” es que, a diferencia de lo que mencioné arriba sobre lo que la Fiesta representa para las personas LGBT, esa parte gozosa de la celebración de nuestros deseos e identidades está ausente en la mayor parte de la película. Es cierto que la película tiene escenas de maricones bebiendo, riendo, cogiendo, travestidos, cantando y representando comedias, pero la manera en que estas imágenes están retratadas a menudo resulta en incomodidad y desconcierto, si no es que en una completa caricaturización. A mi parecer, esto es resultado de la iluminación, de la fotografía, del movimiento de la cámara, de la musicalización y del comportamiento de los actores secundarios. Como mencioné antes, el baile tal cual tiene una duración menor a 4 minutos en la pantalla, lo cual corresponde a dos secuencias. En la primera de ellas vemos a los maricones preparándose para el baile: comienza con un primer plano de un maricón maquillándose y que parece llorar de felicidad –todo bien ahí– pero esto es seguido por un movimiento de cámara que muestra a otros maricones empelucados tratando de ajustarse el corset, no vemos sus caras porque están en la penumbra, sólo alcanzamos a distinguir las pelucas, las uñas largas y las formas del corset entre las siluetas; a continuación tenemos un primer plano de Ignacio, pensativo y visiblemente triste mientras se maquilla; toda la secuencia va acompañada de una desconcertante melodía de piano. La segunda parte del baile muestra a los 42 maricones bailando, la mitad en vestidas, sí, pero con los cuerpos y las caras rígidos la mayor parte del tiempo. No es sino hasta que esa desconcertante música de piano se acelera y la escena comienza a intercalar imágenes de la policía acercándose que vemos a algunos maricones reír y disfrutar –menos de 20 segundos–. Esta no es la emoción que sentimos los LGBT cuando nos preparamos para la fiesta más esperada del año, ni la euforia que nos inunda cuando ya estamos ahí.
No hay goce, afirmación, ni reivindicación. Al contrario, la película parece mirar a los maricones con extrañeza, retratándolos como seres humanos superficiales, insulsos, ridículos e incapaces de ser felices. Algo similar a lo descrito en el párrafo anterior ocurre en las escenas que mostraban las actividades típicas del club de los maricones en partes previas de la película. En una de ellas incluso hay un contrapunteo muy particular: se escucha una conversación fuera de cuadro de uno de los maricones en torno a sus obligaciones familiares con su esposa e hijos mientras vemos a los hombres pasándola bien y jugando billar, hasta que la cámara se centra otra vez en el rostro acongojado de Ignacio. Este club no es un espacio de libertad y emancipación, de celebración de las identidades, es un circo de lo extraño bajo el yugo de la heterosexualidad obligatoria, escrito y filmado desde la mirada heterosexual. Miren a estos malditos maricones.
Después de ver la película, encontré una entrevista donde la guionista afirma que su objetivo era “contar, rescatar y resignificar” el baile de los 41 maricones “o sea, dejar de hablar de este suceso histórico como si fuera un chisme y empezar a darle la importancia que tiene dentro de la historia de nuestro país.” Aquí surge la pregunta “¿Quiénes son ese "nosotros” cuando la guionista habla sobre “nuestro país”? Al hacer una película cuya trama se centra en un matrimonio heterosexual (entre un hombre y una mujer), que retrata a los hombres homosexuales de manera superficial, incluso llegando a caricaturizarlos, que muestra a estos hombres como incapaces de ser felices y que deja de lado lo que el mito de los 41 representa para la gente LGBT en mexico, la película está muy lejos de resignificar este suceso histórico. Al contrario, me atrevería a decir que la película reproduce (quizás de una manera más sutil, pero no por ello poco perniciosa) el escándalo moral que la prensa nacional propagó a partir de este suceso a lo largo de varias décadas.
Quizás los realizadores de la película asumen, como lo hacía la prensa al hablar del baile de los 41 maricones, que ese “nosotros” al que se refieren cuando hablan de “nuestro país” no somos nosotrxs –las lenchas, los maricones y demás desviadxs–. Piensan en nosotrxs como el tema, pero no como el público. No se les ocurre que el mito de los 41 maricones pueda formar parte de uns cultura y una tradición de resistencia, disidencia y sobrevivencia; ignoran que nuestra Fiesta tiene una dimensión política. Tal vez no se percatan que, como público, lxs desviadxs queremos y necesitamos otras narrativas, otros enfoques y perspectivas. O lo mejor sí se dan cuenta, pero por alguna razón prefieren atender al público heterosexual, o quizás piensen que por poner hombres guapos cogiendo y desnudos frontales en la pantalla, los maricones nos vamos a dar por bien servidos. Ojalá algún día tengamos la película sobre el baile de los 41 maricones que los maricones y desviadxs verdaderamente merecemos. Rescato, eso sí, la escena donde Ignacio, Evaristo y sus amigos caminan borrachos a altas horas de la noche por las calles del ahora centro histórico de la Ciudad de México haciendo desfiguros; ese sí fue un buen homenaje a una muy bonita tradición de maricones que espero podamos retomar pronto.
CRUELLA DE VIL’S OUTFITS IN FILM
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