Ripe for Rediscovery, James Bidgood’s Ultra-Sexy Queer Classic ‘Pink Narcissus’ Blooms Again in 4K

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As a captivated admirer, I often ponder what it might have felt like for the audience at the 1971 premiere of James Bidgood’s groundbreaking film, “Pink Narcissus.” With its bold and iconic portrayal of queer themes, I can only imagine the impact, especially during its climactic scene. While the tale of audiences flinching from Louis Lumière’s “The Arrival of a Train” may be an urban legend, it gives a hint of what the audience might have experienced in that moment of cinematic history with “Pink Narcissus.

A softer, adult-oriented reinterpretation of Disney’s “Fantasia” is presented in the movie “Pink Narcissus,” where live-action characters portray hustlers instead of dancing cartoon hippos. The film unfolds like an erotic symphony of visuals, with the protagonist, Bobby Kendall, being intensely admired by a muscular man who gazes at his own transient beauty in numerous mirrors. Director Bidgood gradually builds one vivid sexual fantasy on top of another until the movie reaches its climax, bursting forth directly onto the camera and ultimately onto the screen/viewers.

In 1971, a year before “Deep Throat” gained widespread popularity, the loosening of pornography laws made it possible for theaters to screen Bidgood’s masterpiece, “Pink Narcissus.” Despite every scene being deeply reflective of its creator, it’s amusing that upon its release by Sherpix and even today as a new restoration from Strand Releasing and UCLA Film & Television Archive graces theaters, most credits remain anonymous, with no actors listed.

Over an extended period, people debated about who made “Pink Narcissus,” with some believing it could be Andy Warhol or Kenneth Anger. However, it was eventually discovered that Bidgood was actually its creator. This groundbreaking work, which revered the male form, has left a lasting impact on artists like Rainer Werner Fassbinder (whose “Querelle” appears to pay tribute directly) and John Waters, who credits it as a significant influence in his work. Many others, including myself, also find it to be a pivotal viewing experience at certain stages of our lives.

Waters, who has a knack for selecting movies for the Provincetown Film Festival, was filled with awe as he remarked on how incredible it was that an entire film was shot within a loft, starring a renowned artist,” said Waters. This year, he’s set to present “Pink Narcissus” – unrelated to one of his most infamous films. (At the one time I attended, he chose the provocative film “Antichrist,” which gives you an idea of the balance between admiration and shock factor he tends to aim for.)

Due to the title of my film being ‘Pink Flamingos’, there was often confusion. It seems fitting for a great pairing at the cinema, commented Waters over the phone. However, I’ve never aimed for beauty, unlike him.

1971 saw a significant change in the production of Bidgood’s movie, not due to modesty on his part, but because Louis K. Sher, the owner of Sherpix, seized control from the meticulous director who had spent almost a decade crafting it in his small Hell’s Kitchen apartment. Martin Jay Sadoff was assigned by Sher to re-edit and score the stunning Super-8 footage at his discretion, hastily releasing the final product – a film renowned for its beauty – into theaters. This was done to exploit the emerging market for explicit content. Intriguingly, in 1970, the Academy honored an X-rated film, “Midnight Cowboy”, as the best picture, marking the first time such a distinction was made.

At that particular point in time, the name Bidgood might not have held much significance for the spectators since he hadn’t produced a feature film yet, and would never do so afterwards. This production is actually a compilation of visual sequences that he created to complement his photography, which were marketed under the title “Les Folies des Hommes” – an intriguing label in the otherwise anonymous collection.

Hailing from Wisconsin, Jim Bidgood, then 18 years old, relocated to New York City in the year 1951. As asserted by Kelly McCaig, who became his friend later in life, “He was openly [out]. He never hid it,” Bidgood was known for his openness about his sexuality. McCaig has recently published a beautifully crafted coffee table book titled “Dreamlands” to coincide with the film’s theatrical re-release. With an innate artistic flair, Bidgood himself designed the sets and costumes for many of his productions, some of which were so form-fitting they had to be stitched directly onto the actors’ bodies.

In the 1950s, Bidgood stumbled upon Club 82, a hidden drag club in New York’s Lower East Side where he was subsequently employed to perform and create costumes. It was during this time that he met Jay Garvin, the muscular dancer who posed for many of Bidgood’s early erotic artworks. As I can gather, Garvin is not featured in “Pink Narcissus,” although he did pose alongside Bobby Kendall (not his real name), a male model who Bidgood filmed over the span of seven to eight years.

Before his passing, Gayletter Magazine described him as a strikingly handsome yet self-perceived simian-like figure. Contrary to popular belief, Bobby was heterosexual and not skilled in soliciting money. He was overly kind and uncomfortable with accepting payments. Despite losing his hair shortly after the movie’s release, the film portrays him at the peak of his physical attractiveness, characterized by sharp cheekbones, dark curls, and voluptuous lips. John Waters, the director, asserts that Bobby Kendall was arguably the most sexually appealing underground film star, coming close to challenging Joe Dallesandro’s title.

During the 1950s, pornography was prohibited, yet men with same-sex attractions could purchase magazines labeled as “physique” publications. These magazines featured well-built men, often seen in minimal attire, showcasing their physiques for the camera. Throughout his life, Bidgood was known to be a keen consumer of such adult material. However, at the age of 20, he grew disillusioned with the limited creativity found in these magazines, particularly when compared to more heterosexual offerings like Playboy.

In a 2006 interview with Bright Lights Film Journal, I found myself pondering, “Why are all these young men posing in front of the same fireplace, each wearing a peculiar little piece of jersey over their swimsuits?” My imagination ignited by glamour magazines and the vibrant, Technicolor style of Hollywood films, particularly Ziegfeld Follies and productions like “The Red Shoes” and “The Thief of Bagdad” by Powell and Pressburger, I crafted an intricate underwater set within my modest railroad apartment. There, I positioned a well-oiled Garvin amidst the homemade coral reefs and seaweed, thus giving birth to the distinctive Bidgood aesthetic.

Although some view his extravagant and artificially crafted film sets as tacky, Bidgood’s exuberant imagination significantly transformed the realm of erotic gay photography. The French duo Pierre et Gilles openly acknowledge being influenced by his style, which they further enhance in their own creations. Meanwhile, David LaChapelle has shown us how such a creative impulse can be translated on a grand scale (it’s worth noting that Bidgood filmed much of “Pink Narcissus” within the confines of his railroad apartment).

Most pieces about Bidgood’s work often label it as “camp,” a term that oversimplifies the true beauty and stunning nature of some of his compositions. However, Waters strongly disagreed, stating, “It’s not campy at all.” Instead, he believes the word doesn’t accurately capture the essence of Bidgood’s work. In his view, it is breathtakingly beautiful, in a unique and uncommercial way that demands respect. The film ‘Pink Narcissus’ doesn’t fit into any specific genre and doesn’t seek to be liked. Instead, it challenges the audience, daring them to appreciate it, which makes it all the more remarkable.

1964 marked the commencement of Bidgood’s filming of “Pink Narcissus,” while Anger introduced “Scorpio Rising” and Jack Smith released “Flaming Creatures.” As McKaig points out, Bidgood was not associated with the New York underground film movement. Instead, Jim originated as a drag artist, whose style was influenced by Hollywood from the 1930s and 1940s. It seems that various trends were developing concurrently during this time, much like the independent invention of photography on two separate continents.

In his own, self-taught way, Bidgood excelled as an artist, carrying a unique blend of innocence and creativity. One aspect that endears him is his work, such as the enchanting opening scene in “Pink Narcissus,” a 8-foot long journey through a nighttime garden imagined by him, where the spider webs glitter under the glow of an artificial moon. This ethereal sequence often reminds me of the scene where the two children escape in a rowboat from “The Night of the Hunter,” directed by another renowned gay figure, Charles Laughton. As McKaig explained, that particular scene was filmed using miniature sets and a camera mounted on some kind of pedal-operated rig, which moved like a dolly.

Initially starting as a still photographer, Bidgood showcased an abundance of inventive approaches in filmmaking, ranging from double exposure to stop-motion and DIY optical effects. Instead of selling his portraits to homoerotic magazines like Muscleboy and The Young Physique, he found a more profitable avenue by advertising in the back pages and selling 35mm slides and short film reels to collectors. This shift was primarily due to his desire to capitalize on the work he had invested in the sets used for Kendall’s modeling sessions. It’s worth noting that when Bidgood hired Kendall, who was only 16 at the time, McKaig mentioned that the model release form was signed by the boy’s father.

The film ‘Pink Narcissus’ presents a collection of fantasies, where the character Kendall is depicted in various settings, each one more enchanting than the previous. A solitary shepherd yearns for freedom amidst untamed nature. In a lavish apartment, a self-absorbed young man waits for his client while surrounded by pictures of himself. A seductive matador entices a biker with provocative gestures, and a leather-clad motorcyclist is teased. Two unknown individuals indulge their desires in a public restroom, adorned with homemade urinals and graffiti.

Based on McKaig’s statement, it appears that the final sequence in question was influenced by Bidgood’s personal fondness for public cruising. In the late 1950s, he attended Parsons School of Design, but he didn’t complete his studies due to an arrest related to cottaging, as McKaig mentioned. This segment stands out from the others due to its rougher, more confrontational tone – a quality that, according to McKaig, can be linked to Jim’s private life.

In a different phrase, the vignettes are intensely sensual and undeniably erotic, captivating not just gay viewers but also straight audiences. This is based on John Waters’ experience; he often shares “Pink Narcissus” with his straight friends. He explains that people might think such a gay film wouldn’t appeal to them, but they are astonished by its beauty and the fact that it is genuine outsider art. Just as punks admire “Pink Flamingos,” I believe opera lovers would appreciate “Pink Narcissus” too.

In more imaginative settings, Bidgood would reimagine his small apartment as a Roman temple or an exotic Arabian harem. In the latter, his sheer costumes might seem provocative, but he was intentionally tapping into the subconscious mind. At the same time, he was cleverly maneuvering around obscenity laws. As Bidgood explained in an interview with AnOther Man in 2019, “What isn’t shown can be more tantalizing as our minds fill in the gaps with our own desires.

Rewatching “Pink Narcissus” following its stunning restoration, I find myself captivated anew by its subtle, almost demure quality – a sensation even persisting during the more risqué Times Square scene, which serves as a satire of the city’s decadence, with Charles Ludlam, the Ridiculous Theatrical Company’s founder, portraying the abortionist and the vendor of “pissicles.” A full 25 years have elapsed since my initial viewing (and 54 years since its original release), making it hard to ignore adult content that now floods our emails and pops up in unexpected Google searches.

In the present, Bidgood’s impact is stronger than ever. While it’s unclear what Bidgood intended when compiling his own footage, Sadoff didn’t distort but rather fulfilled Bidgood’s vision as a director might imagine. Adopting an avant-garde, experimental approach and overlaying it with psychedelic music (featuring classical pieces played in reverse), the final version of the film foreshadows the techniques that would become synonymous with MTV a decade down the line. It’s no surprise that musicians find inspiration in Bidgood’s distinctive style.

In 2019, Charli XCX, while guest editing Dazed, openly expressed her intense fascination with “Pink Narcissus,” stating, “I often referenced the works of Pierre et Gilles and James Bidgood for my music videos and photoshoots.” It’s evident that this influence is also present in Little Nas X’s work, as he consciously positions himself as the focal point of the gaze that was once bestowed upon Kendall. His sets are designed to be significantly more flamboyant and extravagant than anything portrayed in “Pink Narcissus.

Since Bidgood eventually took credit for creating the film, one would expect that he had some form of financial gain, yet much like the models he humbly paid, Bidgood received minimal earnings for “Pink Narcissus.” Choosing to stay hidden, the person he nicknamed “Bobby Kendall,” his muse, went on to college, moved away, and got married. However, they managed to keep in touch with Bidgood throughout the years.

In a 2010 interview with Butt magazine, Bidgood stated that despite the effeminate imagery associated with ‘Narcissus’, people might assume he’d be lounging luxuriously in a silk robe, powdered and rouged, surrounded by orchid chiffon, a bong, and boys by his pool. However, Bidgood actually lived in poverty, struggling to pay his rent on Social Security income alone. McKaig provided assistance, organizing art exhibitions, and Christian Louboutin employed Bidgood to photograph his shoes using his distinctive style. Prior to his death in 2022, queer director Ira Sachs invited Bidgood to appear as an extra in his films “Keep the Lights On” and “Love Is Strange.

Unfortunately, Bidgood’s later life was quite different from the dreams portrayed in “Pink Narcissus,” despite the fact that the apartment remained the same. However, thanks to films like these and those who work hard to preserve them, his dream world continues to exist eternally on celluloid.

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2025-04-12 21:48