PORTRAIT OF JASON — CLASSIC FILM PICK
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Cole and Mike dig Shirley Clarke's magnificent cinéma vérité work which showcases a gay black Mark Twain of African American experience up to this film's 1967 filming. Left Hand Brewing Milk Stout Nitro gave us the craft beer delight we desired for our movie chat. Bon appetite!
Shirley Clarke’s 1967 cinéma vérité masterpiece remains a scathing social and character study of race in America for the enigmatic quality of its unreliable subject, Jason Holliday (nee Aaron Payne, 1924-1998).
Filmed in her Chelsea Hotel penthouse apartment on a cold winter night over a 12-hour period, from 9 pm to 9 am, Clarke uses out-of-focus segues to interview Jason, a gay African-American hustler as he talks about his troubled life and uncertain future. Jason Holliday is nothing if not a performer, and a tragic figure for the ages.
Jason is at once candid, guarded, jovial, sad, articulate, affected, and presentational as he tells of working on a cabaret act, that we the audience may be witnessing excerpts from. The movie lights up when he breaks into song. He is talented.
Clarke and her partner (actor Carl Lee — “Super Fly”) goad Jason from off-camera, peppering him with questions or prompting him to tell specific stories from his troubled past.
Jason tells of hustling all of his life to avoid the 9 to 5 grind. His involuntary laugh is constant. Infectious as it is revealing of the deep sadness he carries with him, it is Jason’s laughter that keeps you on pins and needles. You can sense him wanting to cry throughout the interview, but he lets the sound of his own laughter carry him through edifying stories about working for rich white folk as a “house boy” or talking to prying psychiatrists about his sex life.
“I’m a stone whore, and I’m not ashamed of it.”
Jason drinks a cocktail while standing in front of a fireplace mantle, wearing stylish coke-bottle glasses that magnify his heavy-lidded squint. His Oxford shirt’s collar is unbuttoned so that the collar falls over the lapel of a dark blazer, giving him the appearance of a black James Dean whose better survival skills have given him passage in upper class white culture. He may be stoned from drink and pot, but his speech is never slurred. His word choice is rarely less than erudite. The stories he tells of his interactions with Miles Davis ring with anecdotal truth, especially a funny one involving the drummer Philly Jo Jones.
How much of Jason’s stories are real or fiction never comes into question because the force of his being is so convincing. So whether Jason’s sly delivery is merely a persuasive form of carefully constructed editorial narrative or not, doesn’t matter; there is too much intrinsic truth in every word he utters with damaged conviction and regret.
Aaron Payne studied acting at the Actor’s Workshop in Hollywood under Charles Laughton before studying at the American Academy of Dramatic Arts in New York. He recorded a comedy album that was released in 2007.