MY REVIEW OF "SOUTHERN BAPTIST SISSIES"
As the son of a Southern Baptist minister, I looked forward
to seeing the movie “Southern Baptist Sissies”, based on the play by Del
Shores, at this year’s Q-Fest, Philadelphia’s lesbian, gay, bisexual, and
transgender film festival. Mr. Shores
was on hand afterward, as was the star, for a question and answer session. While many in the audience seemed to love the
movie, I found myself left unsatisfied and empty by the film.
Del Shores, like me, is the son of a Southern Baptist
minister. He has done a reasonably
decent job of communicating many aspects of the Southern Baptist experience, in
particular the single-minded focus most have on whether or not someone is “saved”,
since one’s eternal destiny is based on whether or not one has had this
emotional experience of conversion, and the opposition to homosexuality
(although in my experience, it is even more rabid than he portrays). The discussion the star has with his mother
upon discovering his favorite teacher is Jewish, and therefore bound for hell
since she has not accepted Jesus as her “personal Lord and Savior”, despite
being a nice, good person, since being nice or good is unrelated to salvation in
the Southern Baptist theology, was a very good window into this doctrine and
how it plays out in the lives of Southern Baptists. The music was for the most part well-done – I
found myself singing along to many of the hymns. And the quoting of scripture, with chapter
and verse, was certainly something all Southern Baptists and former Southern
Baptists can relate to.
The play is really two plays – one about four gay young men
who grow up in a Southern Baptist church, and the other about two aging ex-Southern
Baptist alcoholics who become drinking buddies in a gay bar, one a gay man and
one the sister of a gay man. Apart from
sharing a pianist, who seems to double as the pianist in the bar and in the
local Southern Baptist congregation, and a couple of tangential connections to
the young men which seem forced to me, the two plays have little in common
other than an attempt to comment on the damage that the Southern Baptist
religion wreaks on people. The
alcoholics, played brilliantly by Leslie Jordan and Dale Dickey, were complex,
layered individuals, with much witty dialogue, as well as much depth of
insight. Most of the best lines in the
play were spoken by one of these characters.
But the two plays, although meant to work together, didn’t. The film was too long as a result. And I’m sure the bar scenes were meant to
illumine the scenes focused on the church, but the only illumination I
experienced was a spotlight on the cardboard clichés that were the four boys and
others in the Baptist congregation. And I was particularly troubled by two aspects of the play.
First, one major doctrinal difference between Southern
Baptists on the one hand and Roman Catholics and Mormons on the other is that,
while the latter two denominations each hold themselves out to be the “One True
Church”, outside of which there can be no real hope of salvation (I realize
Roman Catholics have softened this doctrine in recent decades, but only for
those who have never been RC), the Southern Baptists, while emphasizing the necessity
of church, nonetheless do not regard themselves as the “One True Church”. The preacher and the church are not
infallible – it is the Bible which is infallible for Southern Baptists, and leaving
a church that is insufficiently “biblical” for one that is more so is a
time-honored tradition. So while it is
very difficult for Roman Catholics or Mormons to find a new church, even while
abandoning their old one, because of their deeply held belief that theirs is
the only one, many gay Southern Baptists find their way to Episcopal churches,
or the MCC, or other more progressive churches.
Shores’ failure to explore the quite common phenomenon of people finding
ways of reconciling their sexuality and their Christian faith distorts the gay
Southern Baptist experience.
More deeply troubling was the suicide. Andrew is shown as always feeling alone and
unloved, but when he commits suicide, he finally finds peace in the arms of a
lover who is revealed to be God. I worry
that this, however unintentionally, glorifies suicide, particularly when compared
with the bleak lives of the other characters.
That is NOT a message we want to communicate at all.
None of the other gay men in the play end up with a male partner, or even, seemingly, a circle of close friends, but are all alone and leading broken lives.
One marries a woman and is filled with rage as an “ex-gay”
preacher. Another is the aging, sad
alcoholic from the bar (played by Leslie Jordan), who tells Andrew, in the only
interaction between the bar play and the church play, not to become like him on
the very night Andre kills himself.
There is the sad pianist, almost completely silent, except for a couple
of throwaway lines put in for comic relief.
There is the vapid and shallow drag queen (played very well by RuPaul
Drag Race veteran Willem, but with the character bearing no resemblance to the
strong and powerful RuPaul, who would have lovingly but firmly snapped Andrew
into shape as a proud gay man). And
finally, there is the star, whose rage prevents him from creating a life for
himself, only imagining a different world.
He does in the end find a vague love-based spirituality (unsurprisingly,
the agnosticShores, in the Q&A session, holds this up as “spirituality” vs.
“religion”). While the last hymn and his
spiritual awakening are meant to communicate hope and acceptance, there is no
actualization of that hope in his real life, only in his imagination, and so it
rang quite hollow for me.
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