Jun 22, 2013

My Father Is Coming




Ever wondered what would happen if a boorish, beer-bloated Bavarian kraut comes to Jew York City to visit his daughter and discovers that his little girl is a mixed-up, carpet-munching and miscegenating lesbo that no longer has love for the Fatherland?! Well, such is the sexually and culturally confused world of Sapphic German auteur Monika Treut’s cunt-loving Amero-kraut cult comedy My Father is Coming (1991) aka My Father is coming - Ein Bayer in New York, a radically ridiculous and raunchy dyke-fest of the sometimes sentimental but always vulgar sort where a proud German mensch learns to become ‘progressive’ via peversion by having a grotesque Jewish porn star/performance artist by the name of Annie Sprinkle endow him with some much needed kosher carnal knowledge. If Weimar Berlin of the 1920s and early 1930s was the world capital of sexual debauchery and gender derangement before Uncle Adolf kicked all the Jews and their shabbos goy friends out, New York City must have inherited all that degeneracy when all the Hebrews immigrated there, or at least one would assume so after watching My Father is Coming, a film that rightfully associates homosexuality and other sexual aberrations with cosmopolitanism, but also nationalism, especially of the Teutonic persuasion, as outmoded and even socially odious. Clearly influenced by German New Cinema alpha-fag Rosa von Praunheim’s flauntingly decadent documentary Überleben in New York (1989)—a sickening celebration of retarded race-mixing, lurid and loony lesbianism, and cultural deracination that follows three modern German women as their lives change drastically after moving to the big rotten apple—My Father is Coming is a culturally cynical and vaguely campy tale about pussy power and why lesbianism trumps both the father and the Fatherland, at least in sadomasochistic lady-lover Monika Treut's gal-gazing eyes. Like Werner Herzog’s Stroszek (1977) as depicted from the sardonic pseudo-intellectual Sapphic perspective, My Father is Coming is a film that reminds heterosexual men why lesbians—and not the pseudo-lezzy sort featured in silicon-soaked porn flicks—are the greatest enemy of mankind. 



 Vicky (Shelley Kästner)—a semi-out-of-the-closet lesbian of the German immigrant persuasion, who looks like a cross between Gillian Anderson and anti-feminist feminist Camille Paglia—is quite worried about the fact that her proudly German father Hans (German New Cinema cult actor Alfred Edel, who died two years after the film's release) is coming to visit her in NYC and does not know that she likes licking lilies and lives with a rampantly homosexual homo with an unhealthy fetish for muscular Latinos. A struggling actress who cannot even land a role acting as a German character despite her ostensibly Aryan blood (she looks more Italian/Jewish than anything), Vicky spends most of her time waiting tables and conversing with her Puerto Rican lesbian co-worker Lisa (Mary Lou Grailau) and she has very little time to spend with her father. When boorish Bavarian Hans does arrive to NYC, he comes armed with “real Bavarian sausage” that he smuggled through customs and happens to run into his daughter’s anti-German Hungarian neighbor, who makes some rather snide remarks about how “the fuehrer was a vegetarian” and how she apparently had a German boyfriend once, but dumped him because he brought over potato salad with a swastika drawn with mayo in the middle of dish. After realizing the less than homely Hungarian broad is a lesbo with a jealous estrogen-free lover, Hans leaves and finally runs into his daughter, who pretends her blatantly flamboyantly gay roommate Ben (David Bronstein) is her husband. After being surprised to learn from his daughter that “lots of Russian Jews live here and they hate Germans” when he is denied Jew food at a kosher deli, Hans agrees to go to Vicky’s next acting audition, which happens to be with dildo diva Annie Sprinkle, who is casting for her upcoming erotic film Pornutopia. While Vicky fails to entice and get the part in the porn flick, Hans gets a part in an American TV commercial by happenstance after randomly meeting a casting director, but the burly kraut also starts a relationship with jaded Jewess Annie Sprinkle after she vulgarly urinates in front of him. Feeling a bit of melancholy and jealous that she did not get the role but her non-actor father did, Vicky randomly runs into a James Dean-wannabe female-to-male transvestite named Joe (played by Michael Massee, the man who accidentally killed Brandon Lee during the film of The Crow (1994)), who offers to give her a ride to work, thus beginning an erotically fruitless relationship. While starting a harmless, seemingly one-sided relationship with Joe, Vicky starts an even more steamy affair with her co-worker Lisa. Needless to say, Hans is a little irked when he walks in on his daughter fondling a swarthy Puerto Rican gal, but he eventually comes around after cumming (indeed, the title My Father Is Coming seems to have a dual and quasi-incestuous meaning) and becomes accepting of his little girl’s vice after Annie Sprinkle gives him a rather racy and repugnant rub down, thus committing the unholy sin of racial defilement. In the end, proud kraut Hans is semi-Americanized and leaves NYC wearing looking like lard ass liberal slob Michael Moore in a goofy baseball cap and accepting the fact that his daughter is a deracinated and ethno-masochistic tuna-face dyke. 



 When discussing why post-WWII Germany is so accepting of gaydom, director Monika Treut theorized, “that after the Third Reich, and with the constitution of the Federal Republic of Germany, people have become very sensitive—have had to be very sensitive—when defining others as outcasts,” thus explaining why queers arguably dominated German New Cinema. Indeed, rather remarkably, in terms of persecution, it is Germans and not gays, transvestites, and lesbos that are the greatest target of scorn, hatred, and ridicule in My Father Is Coming. For example, when protagonist Vicky tries out for an acting role as a German character, the casting director states “think of the Nazis” in terms of the stereotypically robotic Teutonic performance she is looking for, thus illustrating the sort of endless and tedious Teutonophobia that has dominated in Hollywood, mainstream media, and brainwashed American minds ever since the Second World War. Additionally, Hans is taunted by strangers a number of times due to his glaring Germanness, including two dykes insinuating he is a Hitlerite, a German-Jew questioning about what he did “during the war” (He was just a boy and his father was killed), and being denied authentic kosher food. Of course, with My Father Is Coming, auteur Monika Treut symbolically broke with her German identity as virtually all of her subsequent works where shot abroad and she gained her largest audience with American lesbians, thus transcending the blood she herself feels is tainted, so much so that even being a bean-flicking bull-dyke is more socially acceptable. In fact, one could argue that she traded her Aryan identity for an abberosexual one as most of her subsequent works, including Female Misbehavior (1992), Gendernauts: A Journey Through Shifting Identities (1999), and Lesbian Nation (2009), expressed an identity as being one’s (lesbian) sexuality and not the blood and soul of one’s birth. Of course, as exemplified in lezzy Lisa’s remark “no one ever believes me when I tell them I’m Puerto Rican” in My Father Is Coming, Monika Treut seems to think of lesbianism as a multicultural pseudo-race without physical borders and social restraints, while also advocating race-mixing via Hans and Annie Sprinkle as the poisonous antidote to national and racial pride among heterosexuals. That being said, My Father is Coming is essentially a degenerate völkisch propaganda flicks for chicks that do not like dicks, henceforth, it goes without saying that Treut film(s) are the aesthetic/cinematic equivalent of a temporary STD to anyone that is not a clit-hopper.  Indeed, Herzog's Stroszek might have ended in terrible tragedy and misery, but I found it far less stomach-churning than the sickeningly sentimental conclusion of My Father Is Coming, a fucked flick where a Fräulein surprises her father with the fact that she fingers other gals and expects him to accept it and he does so only after a Jewess fingers him.  It might be a stretch, but I doubt Uncle Adolf would have been impressed with tranny-like Annie Sprinkle's unflatteringly large Jewess jugs but Alfred Edel is a different story, thereupon illustrating the major difference between the Teutons of today and yesteryear.



-Ty E

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