“Thoughts on Rayon- Dallas Buyers Club” – Precious Davis
I recently watched Dallas Buyers Club after hearing both objection and ovation over Jared Leto’s performance as the Transgender character “Rayon”. I wanted to form my own opinion through the lens of intersectionality for which drew upon my experience and expertise as a performance artist, social justice activist, and Transgender woman. While the narrative of being Transgender has finally become a household conversation through films like Dallas Buyers Club, and of course Laverne Cox’s role as Sophia Burcett in Orange Is The New Black is it important that we actively assure and hold media outlets accountable to honor the history, struggle, and depiction of authentic representations of our community, for they are a-plenty.
In terms of Rayon’s character, I wanted to know of whose experience this was actually representative of; Was it an authentic recreation of a Transgender woman or a stereotypical archetype crafted for film without historical reference? Interviews with production document that Rayon is based on interviews with a number of Transgender activists and doctors who shared stories throughout the writing of the film for script writers Craig Borten and Melisa Wallack. It is also now known that educational Transgender history and acting advising was given to Jared Leto from Calpernia Adams–who was thanked in Leto’s Oscar speech for which he won best supporting actor of the year for playing Rayon in the film. While I certainly believe that such composite and narratives shaped a particular framework for a character who I did indeed root for; I did not fully believe in Rayon’s character, and feel that there could have been more well-rounded inspiration drawn from historical Transgender figures like: Candy Darling, Holly Woodlawn, as well as Sylvia Rivera. An homage to “Candy Darling on Her Deathbed,” (recreated by bi-coastal performance artist Zackary Drucker, Rupaul’s makeup artist Mathu Andersen and photographer Austin Young in 2008), a brilliant piece of pop culture photographed by Peter Hujar would have shown someone had done some in depth research on the Transgender heroine. (It’s important to note that Drucker would have been a terrific casting choice for Rayon). I wanted to scream every time Rayon was mispronouned in the film by the protagonist character Ron Woodrood (played by Matthew McConaughey). I don’t believe the dynamic presented through the depiction of their relationship was exactly historically accurate. I find it hard to believe that the outgoing, bright-eyed, pink eye shadowed Rayon would allow any man in real life to run over her in a way that disrespected her gender identity. In our introduction of Rayon, we see her pull back the divider in the hospital room not knowing who she would encounter. In that, we see a woman who is not afraid to inquire into the unknown or into that which could cause conflict. We later see Ron defending Rayon at the grocery store when running into his old pal D.J., who is instantly transphobic to Rayon. We are immediately aware of his stance of bias and bigotry once noticing her otherness–that which is not cisgender Caucasian male. It is in this moment that Ron tells D.J. To “shake HIS hand” in reference to Rayon. This was a perfect moment for Rayon to flex her inner Angel Dumott Schunard diva and evoke the famous words written by Jonathan Larson in the Broadway musical RENT; “ I’m more of a man than you’ll ever be, I’m more of a woman than you’ll ever get.” Even in death, Angel is referred to as SHE in Larson’s RENT by character Mimi Marquez ,which was originally conceived in 1989.
Warholian “Darling” is the essence of what Rayon should have, and is ultimately what I see trying to be represented and conveyed in the film; a fighter who is rough around the edges, a lover, and ultimately one who still lives and dies in the act of revolution via virtuoso of spirit. This is something that many Transgender women and individuals who died and survived the first generation of the AIDS crisis have in common. If Dallas Buyers Club does anything well; it shows the encapsulation and visual timelessness of the struggle of individuals who were determined through guerrilla tactics, public activism and governmental accountability to survive. Such willingness, commitment and travailing at the dawn of the AIDS crisis to fight for life, medication, and hope is something that should be heralded for decades to come . I am glad this story is being told, and ultimately do applaud Jared Leto’s dedication to go through a physical and mental transformation which indeed can be representative of the act of transitioning–a component of some Transgender individuals’ identity. Transitioning is a unique and very individualized experience which differs from person to person. This should be treated with the highest regard, and I believe that Jared did take this into account . While it is classic Hollywood to cast a Caucasian male with star power in a role so that a studio can gain and assure significant profit, I believe that the social impact of casting qualified Transgender individuals in leading roles creates visibility and access, and assures that we are ingrained directly into the systems which erase our history, refuse to tell our story, and propitiate stereotypes about Transgender individuals.
What is sad about the Castro (and similar gay neighborhoods across the country and around the world), and indicative of what gay people do with even a little bit of power, is that these same smiling gay men have failed to build community for queers (or anyone) outside their social groups. Many gay men (even in the Castro) still remain on the fringes, either by choice or lack of opportunity. But as the most “successful” gays (and their allies) have moved from outsider status to insider clout, they have consistently fought misogynist, racist, classist, ageist battles to ensure that their neighborhoods remain communities only for the rich, male and white (or at least those who assimilate into white middle-class norms). They’ve succeeded in clamping down on the anger, defiance, flamboyance, and subversion once thriving in queer subcultures, in order to promote a vapid, consume-or-die, only-whites-need-apply version of gay identity. Homo now stands more for homogenous than any type of sexuality aside from buy buy buy.
In 1992, there were still a few slightly interesting things about the Castro: a gay bookstore with current queer ‘zines, and freaks and drag queens on staff; a used bookstore with a large selection of gay books; a cafe with live cabaret shows; a 24-hour donut shop with a rotating cast of tweakers; a tiny chocolate shop filled with delicate creations; a dyke bar; and a cruising park where faggots actually fucked. These meager (and mostly fag-specific) resources have disappeared, as rents have skyrocketed and corporate chains have replaced local businesses. A glittering Diesel clothing store now dominates Harvey Milk Plaza, the symbolic heart of the Castro, and the historic Castro Theater shows Eating Out, a movie about a straight guy pretending to be gay in order to get the girl with the gay friends (The tagline reads, “The fastest way to a girl’s heart is through her best friend.”).
Gay bar owners routinely call for the arrest of homeless people, many of them queer youth, for getting in the way of happy hour. Zephyr Realty, a gay-owned real estate company, advises its clients on how best to evict long-term tenants, many of them seniors, people with HIV/AIDS and disabled people. Gay political consultants mastermind the election of anti-poor, pro-development candidates over and over and over.
Mattilda Bernstein Sycamore, “Sweatshop-Produced Rainbow Flags and Participatory Patriarchy: Why the Gay Rights Movement Is a Sham”
I wish I could reproduce the entire article here it’s a very important read, especially for SF queers.