Fögi Is a Bastard

This gay-friendly Swiss French film about a drugged-out punk singer who has an obsessive, dysfunctional affair with a 15-year-old boy groupie pushes the edge of the permissible and the believable and does not go anywhere but downhill, though it isn't without a certain sweetness. Deserves a tiny but special spot in the roster of drug and music films somewhere is a remote branch off from Velvet Goldmine and Sid and Nancy. More than that, it is courageous and tasteful in its straightforward and sexy treatment of man-boy love, and one can well understand that some viewers find it very special. Both of the principals are attractive, and Fögi may be a bastard, but he has a lot of charm as well.

From the other comments {as of 2001 when I first wrote about this film here} you might think "Fogi is a Bastard" is a total loser film; but I think those others missed the boat on this one. It remains the #1 film I'd like to own on video, one that actually breaks new ground in examining a hot, if dysfunctional, gay love affair. For me, it was the best film at OUTFEST 1999; and even though as a film it probably is not a masterpiece, as a gay film it is so amazing and mind blowing that it has replaced "Law of Desire" (by Almodòvar), as my all-time favorite gay film. Vincent Branchet plays Beni, a schoolboy in 1974 Switzerland, who develops a crush on Fogi the notoriously gay lead singer/guitarist of a local punk band, "The Minks". They form a relationship which starts out as innocent puppy dog attraction with wonderful sex, and which devolves to heavy sado-masochism as Fogi descends into heroin addiction and starts hiring out Beni as a call-boy and treating the willing and cooperative Beni as his dog (too bad the more apropos title, "My Life as a Dog" was already taken). It sounds unpromising, I know. Yet the film is such an unsparingly realistic portrayal; the actors so outstanding (Branchet is both the most attractive young actor and one of the best actors period that I've seen in several years; and Frederic Andrau, who plays Fogi is no slouch, himself) that it all works. The film is beautifully shot in a realistic, gritty style with a very mobile camera which defies description (a scene where the characters have dropped LSD and the whirling camera is used as a metaphor for their internal state is simply stunning.) It is exciting and innovative film making, and the director Marcel Gisler is one to watch for. This is a film I would go back to see over and over if it were ever to get a release here.

I finally got to see this film again on DVD in March, 2012; and the film has lost none of its power to shock and amaze. Twelve years have passed since I saw it, and still no other filmmaker has managed to make a gay themed dramatic film which so ardently and truthfully managed to capture the unvarnished essence of the sex, drugs and Gothic Rock gay culture of the '70s. This film might have been set in Switzerland; but it could have been set anywhere that gay people congregated in that pre-AIDS, post-Stones era. This film remains a milestone of the gay cinema and deserves its place in the canon.

An addicted relationship between a minor and a adult is still a controversial topic, and, from time to time, I am intrigued to see how such a "liaison" is depicted. As F. est un salaud includes a gay theme as well, there are "mandatory" topics of prostitution, mental issues and drugs, visible through a 25-y.o. and a 15-y.o. males, while the latter is performed by a 20-y.o. actor not looking younger... There are some brave scenes and good camera-work, but the film is primarily a record of young affection and obedience rather than a versatile depiction of characters evolving. Moreover, it leaves some issues unclear as well: was gay life in the 1970ies Switzerland really as open and easy? What about Beni's family when he began to live with Fögi? The ending was also hasty and without any surprise.

As I was referred to this film from a film I really liked I had apparently higher hopes, but I have to recognise that F. est un salaud did not fully conform to my type of nature and values. But those fond of unconditional love and artistic lifestyle might squeeze more out of it.

Yes, Beni gets a target on, mostly, portrayal. Yes, Fogi is not bad either. Yes, we have some realistic scenes, especially the man-slave frustration ones, that means realistic like sentiments ringing true. Yes.

Yet, apart from the early scene when and where Beni discovers the heady spin an orgasm offers, which is rarely if at all represented on screen, the film is not memorable, and all those reviewers who profess the film's high value will be caught with the capital crime of idealizing, which is actually another name if you think about it, of frustrated citizenship. Well, no one escapes this predicament unfortunately, but wouldn't it be better to give a try directing these forces to better appreciations? For I cannot but think that judging by the majority of the reviewers' reactions this is one more case of frustrated gay citizenship meets failed artistic endeavor and masquerading both as the film's and the viewers' achieved meeting. Why?

Fogi is not a fag.

Fogi is not a frog.

Fogi is just a fog. -

With what frequency can you ask yourself the question of what do you know? Not frequently.

Mandragora meets Switzerland. Amazing detail. Beautifully shot. Extremely complex sequences. Beautiful dialogues. Mesemrising moments. Truthful, yet incredibly depressing. That's what I'd add in a nutshell if you want to dig into this film's nightmares.

Beni's nightmare, that's it. We, who have seen this film, agree that it's a difficult and painful way to go to the end.

Despite its very Swiss environment, it's a film that would fit any time slot since the sixties. Strong and bitter. Sweet and hopeless. Definitely not an American film. Good actors, good script and a good director... all these factors make of F... one of those rare modern films that have it all.

Clearly, French input is all over this movie, and that's always a plus.

The music is another point to look for. Original music not to be found anywhere; a couple of Lou Reed's good songs and a heartbreaking end with Patti Smith's "Wings". Forget about the gay themed thing, this is a film to make you think, seriously!

I doubt anyone would endure just walking out as the credits roll.