The Kids Are All Right, But Not the Queer Movement

But it’s also a portrait of the white gay movement, which has struggled with its race issues for some time now, most publicly after Prop. 8 passed in California and hysterical white gay boys blamed black voters for keeping them from the joys of registering at Tiffany’s. If that happened though it was largely because the movement has failed to build institutions where people of color, like those in The Kids Are All Right, play more than minor roles.

A few months ago, a friend recounted walking into a meeting with the directors of statewide LGBT organizations. It was a majority white room. That the convening looked more like a Tea Party gathering than a 2008 Vote Obama youth rally should have been on the top of the agenda. It wasn’t.

Part of the success of Cholodenko’s movie rests in that, intentioned or not, she’s rendered on the big screen the racial realities of this new gay world order. When Jules is struggling with guilt about what she’s doing outside her matrimonial bed, she thinks Luis, the Mexican gardener she’s hired, is smirking at her, which he is. With comedic self-righteousness, Jules points out that he blows his nose too often. “I have allergies,” Luis explains. Fumbling through her words, Jules accuses of him having a drug problem and fires him.

The audience laughs. I laughed. At Jules, at her hysterical reaction, at how uncomfortably true it is that behind the white lesbian niceties can sit the old racist stereotypes of a Gov. Jan Brewer.

It’s a small moment in the film but a reminder of how the gay world mimics the straight one, where economic power goes hand in hand with a racial hierarchy. Were Luis, the Mexican gardener, to get home, take off his overalls and turn into a flaming queen, it would be hard to argue convincingly that he and Jules have a political struggle in common these days. Not impossible, but certainly a stretch.

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