Matthew Briody reads between the lines of William S. Burroughs adaptation, Queer

Sexual desires and transcendental journeys merge to form a bold and unique look at one man’s life in Luca Guadagnino’s Queer. Adapted from William S. Burroughs’ novella of the same name, the film paints a picture of William Lee (Daniel Craig) and his daily dalliances in 1950s Mexico City. Lee is an American ex-pat who spends his days idling away with drink, drugs and sex. Lee’s carnal pursuits of young men in gay bars are interrupted by the arrival of Eugene Allerton (Drew Starkey), a young student and former soldier. This is Guadagnino’s follow up to Bones and All and Challengers, another film that takes an unconventional romance to the screen. Guadagnino again brings Challengers screenwriter Justin Kuritzkes on board to adapt Burroughs’ source material.  

Tonally, there is a lot to unpack. This is not just a romance, there is an uncomfortable autobiographical element to Burroughs’ novella. Burroughs murdered his wife, the writer Joan Vollmer, in 1951. That is what led to Burroughs writing Queer. He was inspired by his own experiences as an expat living in Mexico City. Burroughs had been attempting to divorce Vollmer, when one night in Mexico City, Vollmer is said to have dared Burroughs to shoot a whiskey glass off her head. He missed the glass and the bullet killed her. Burroughs later claimed that he could hardly remember the events of that night. In his foreword to Queer, Burroughs said that killing his wife liberated the writer in him. He even went as far as to say that if he had not killed her, Burroughs would never have become a writer. 

Choosing to tell this part of Burroughs’ story in Queer is an interesting choice from Guadagnino and Kuritzkes. Guadagnino spoke to IndieWire about including details from Burroughs’ life in the film. “We did not want Queer to be an adaptation of a novel that, in a way, became a period drama and biopic about Burroughs. We wanted it to be an adaptation of the book, so we could not include the wife,” Guadagnino said. “You could not make the story of William Lee the actual story of William Burroughs. But you could think why he had to put this description of the murder of the wife as a foreword of the book. And we could remind ourselves of the great adage by Oscar Wilde that says, ‘Each man kills the things he loves.’” Thinking about the film in that context, Guadagnino’s use of actual events from Burroughs’ life are more understandable. Just as Burroughs killed his wife, Lee destroys his relationships and finds himself alone in the beginning of the film. 

The world that Lee inhabits captures the essence of an era. Mexico City in the 1950s is a lonely place where Lee lives among a small American community. Even though there are some gay men there, Lee is not friendly with most of them. The only exception is Joe Guidry (Jason Schwartzman), an occasional confidant. Lee is exiled from America, where he is considered a criminal as a result of his drug addiction and lifestyle. 

Daniel Craig is not a natural casting choice, however, looking back at his filmography, Queer represents an evolution of his work. In the 1998 film, Love Is The Devil, Craig played George Dyer, the young lover of Francis Bacon. In the 2004 film, Enduring Love, Craig played Joe who is drawn to Rhys Ifans’ Jed. Craig himself has said that he would have been terrified to take on the role of William Lee if he was still attached to the Bond franchise. In the central role of William Lee, Daniel Craig gives a career-best performance. Embodying vulnerability and inner turmoil, Craig commands the screen. Whether it’s through his fast-paced dialogue or the pure physicality Craig brings to the role, he imbues Lee with a raw authenticity that couldn’t be replicated by any other actor. Drew Starkey is both endearing and enigmatic as Eugene Allerton, and the chemistry between Craig and Starkey is electric. As for Daniel’s arc in the film as Burroughs, he begins as a free agent, taking whatever man catches his eye. With the arrival of Allerton, however, Lee exudes desperation and pursues Allerton doggedly. 

Kuritzkes’ script makes clever use of dialogue. Whenever Lee is with friends, or attempting to seduce a potential partner, he talks at length, telling stories and anecdotes with an intent to impress. However, when Lee and Allerton are alone together, they forsake the chatter and connect on a deeper level. There is meaning in what isn’t said. In an early scene, Lee drinks in a dimly lit bar, the camera then follows him to a seedy hotel for a meaningless one-night-stand with a rent boy. This visual representation of the world changes completely when Lee first locks eyes with Allerton. He is drawn to this fascinating young man, who Guadagnino carefully frames on screen, the bar’s lights illuminating Allerton with a halo. Allerton is the answer to Lee’s prayers. 

This film’s portrayal of a same-sex relationship is both visceral and sensorial, which makes for unique viewing. With committed performances and a bold cinematic vision, Queer is a fascinating exploration of how the truth is often stranger than fiction.    

In cinemas 13th December 2024. 

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