To celebrate the first Trans History Week, recent news about a sequel, and the 30th anniversary of “The Adventures of Priscilla, Queen of the Desert” (Stephan Elliot, 1994), Marty Davies founds this movement to honour the trans lives and contributions over the years. The aim is to put them in the spotlight and prove the transphobics wrong, showing they were always there, even if in the shadows of society. With that being said, let’s delve into the details and importance of this masterpiece for the cinema.
The Adventures of Priscilla, Queen of the Desert follows Mitzi Del Bra, Felicia Jollygoodfellow, and Bernadette Bassenger; two drag queens and one trans woman on a road trip from Sydney to Alice Springs in a bus baptized Priscilla with their cabaret shows.
This journey goes beyond the wheels as they celebrate their identities, drag culture, resilience, and LGBTQ+ experience. The movie offers the main characters a glimpse into the lives of the 'other' in society during the 1990s, a time when AIDS remained a threat and prejudice persisted; but queer joy was no longer censored and criminalized. In 1994, Australia decriminalized homosexuality.
Their journey is marked by grief, intolerance, homophobic abuse, violence, and vandalism. The ones who offer them comfort are the Aboriginal Australians, a group that has faced significant exclusion and discrimination in the country, and is depicted with limited representation, cultural insensitive, and stereotypical depictions in the movie.
The movie is a minor commercial product in North America and other English-speaking nations, a hidden gem within an exclusive group of neo-classics and cult films, despite being thirty years old. It plays a significant role in queer cinema and is considered a pioneer in bringing gay lifestyles into the mainstream. From its soundtrack to the flamboyant aesthetics in the mise-en-scene, it has left a lasting impact. This is why it should not disappear without a trace.
Besides this broader perspective, there are also details to consider. Benjamin symbolizes the new generation; children are often symbols of hope, and his acceptance by his parents, despite his mother’s bisexuality and his father’s drag, reinforces this idea. Each protagonist plays a role in terms of representing a community that is often silenced by hate and has long existed in the shadows. They are humans with heavy baggage and stories to tell.
Priscilla symbolizes freedom, liberation, visibility, power, and pride; it's no coincidence that she's adorned in the colour of royalty (lavender).
Bernadette Bassenger embodies resilience, adaptability, wisdom, and maturity. It's significant to mention her relationship with Bob, which is portrayed with queercoding undertones and the casting of a cisgender actor (a form of transfake representation).
Felicia Jollygoodfellow represents youthful recklessness, self-expression, and identity, although she is guilty of using Berandette's dead name and adhering to the stereotype of the sassy gay.
Mitzi Del Bra serves as the eyes of the straight spectators, representing the journey of acceptance and understanding. The art of drag depicted in the film is not inherently tied to sexuality. However, it's worth noting how the movie portrays Mitzi as feminine and her wife as masculine in their marriage scene, perpetuating heteronormativity within gender fluidity.
Despite their diverse backgrounds, the three protagonists are all white individuals attempting to make a living in one of the world's oldest underground professions. A worthwhile reminder on casting white cisgender actors, while the real drags and trans are in major unemployment, sometimes even doing side jobs with prostitution. Not even mentioning the diversity in terms of these groups and today's notion of gender performance and identity as distinct and not necessarily intertwined.
As previously mentioned between the lines, the movie did not age like fine wine after thirty years. However, it remains important in terms of its impact on the LGBT+ community and its role in paving the way for many in queer cinema. Nevertheless, there are problematic aspects, particularly regarding the character of Cynthia Campos (Julia Cortez).
Cynthia Campos (Julia Cortez) embodies stereotypes rooted in racism and sexism, characterized by exoticism and objectification. She is portrayed as a gold-digger prostitute, depicted as loud and vulgar. However, her talent with the ping pong balls could be viewed as powerful, particularly in terms of female sexuality. After all, it is akin to pompoarism, an exercise that improves muscle tone and strength, leading to various health benefits such as improved bladder control, enhanced sexual function, and prevention of pelvic organ prolapse.
The journey of Priscilla continues. In 2024, we mark 55 years since the Stonewall riots, the dawn of the LGBT+ community's fight for rights. While there are still many roads ahead, the bus has already left a sparkling trail wherever it has travelled, whether on the silver screen or musical stages. Let's eagerly anticipate their next adventure (and, of course, analyse it later)!
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