By Miami New Times Staff
By Hans Morgenstern
By Stephanie Zacharek
By Anna Dimond
By Nick Schager
By Inkoo Kang
By Stephanie Zacharek
By Amanda Lewis
"I just find it all so bizarre," notes John Maybury, popping a cigarette in his mouth and lighting it in what appears to be one quick flip of the wrist. "All those issues of 'being out' and, 'Are you in?' We should have gone beyond that by now. I know it's still an issue, but look: I've been out so long people want to push me back in!"
A 40-year-old Englishman, Maybury has indeed been "out," in every conceivable sense of the term, for years -- first as a collaborator of the late gay avant-garde director Derek Jarman (1978's Jubilee, 1987's The Last of England), and more recently as a filmmaker and videomaker in his own right (1991's Tunnel of Love, 1992's Man to Man, and Premonition of Absurd Perversion in Sexual Personae, Part 1, also 1992). But then so was the subject of Maybury's new film, Love Is the Devil: Study for a Portrait of Francis Bacon. One of the most important visual artists of the Twentieth Century, the Irish-born Bacon, who died in Spain in April 1992 at the age of 83, lived a life so wildly bohemian as to render the labels "in" and "out" beside the point. More importantly there was no mistaking the sexuality inherent in his work: enormous, richly colored canvases of twisted, abject figures that, in the words of writer Michel Leiris, give the viewer "direct access to an order of flesh-and-blood reality not unlike the paroxysmal experience provided in everyday life by the physical act of love."
"Francis Bacon, along with David Hockney, has always been enormously important to me," explains Maybury. "They were the only English artists who had (a) operated and existed on an intellectual level of real seriousness, and (b) you automatically recognized their sexuality in their images . That's what's so absurd about the problems I had in making this film. People really did say to me, 'You're going to damage his reputation.' I'm sorry, either you have a really distorted perspective of who I am and what I'm doing, or you have a really distorted picture of Francis Bacon. At one point the [Bacon] estate even wheeled out Michael Peppiatt, who'd written [the Bacon biography] Anatomy of an Enigma. I don't even think he'd seen my script, but he was saying, 'This film is prurient and shouldn't be made. Blah, blah, blah.' And his book goes way, way further out than my film!"
Maybury found himself in the position of having to create a film about an artist without showing any of that artist's works. But being a painter himself, Maybury devised a way to surmount the seemingly insurmountable. In telling Bacon's story, the writer-director creates a mise en scene that evokes key Bacon works such as Two Figures (1953), Portrait of George Dyer Crouching (1966), and Triptych May-June (1973) in ways that anyone with only a passing knowledge of the artist can instantly recognize.
There are precedents of a sort for this; films as diverse as Performance (1970) and Last Tango in Paris (1973) have evoked Bacon's canvases. Yet none have cut as deeply into Bacon's life and work as Love Is the Devil. Starring Derek Jacobi as Bacon and Daniel Craig as George Dyer, the petty thief who became Bacon's lover and most important model, this crisply made drama gets to the heart of the painter's life and work in a way that only a handful of films about artists (1972's Savage Messiah, 1974's A Bigger Splash, 1991's La Belle Noiseuse, Jarman's 1986 Caravaggio) have attempted. And Maybury manages to shed needed light on the Bacon-Dyer love affair, which ended with the latter's death from a drug overdose in Paris in 1971 on the eve of an exhibition at the Grand Palais of Bacon paintings in which Dyer was the principal subject.
"Love Is the Devil is a tragedy," Maybury says over breakfast at a West Hollywood restaurant. "It's not just George's tragedy, it's Francis's tragedy. Still, my covert agenda all the way down the line was that this is the George Dyer story, rather than the Francis Bacon story. If you look at the biographies, even Daniel Farson's The Gilded Gutter Life of Francis Bacon, on which my film is based, there's virtually nothing about George. There are anecdotes, but as it shows in the film, he's effectively been erased by Bacon's friends. They say he was a kind of 'troubled, very simple East End guy, with a stutter, and a rather strangulated voice.' I tried to show something more."
Maybury shows a lot more. His depiction of the Bacon-Dyer relationship echoes the lives and loves of otherwise dissimilar self-destructive gay bohemians such as playwright Joe Orton and filmmaker Rainer Werner Fassbinder. Dyer met Bacon while the former was burglarizing the latter's London house (the gay S&M "meet cute" of all time). While Dyer played the dominant role sexually, he was subservient to Bacon in every other way, as was the case with Orton's and Fassbinder's lovers. He never fit in with the artist's viper-tongued circle of friends (played in the film by Jarman regulars Tilda Swinton and Karl Johnson), and he wasn't able to establish any sort of life for himself outside of Bacon's orbit. Maybury believes that, unique as the Bacon-Dyer menage may appear at first, it's not all that uncommon in romantic relationships of all sorts.
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