Must See Movie: An Interview With the Director of ‘Test’

Chris Mason Johnson’s first feature The New Twenty was about a group of friends hitting 30 and though it had a couple of gay characters it was a decidedly more mainstream effort. Test is a huge leap forward artistically and the director’s voice is clear. Why is that? “Part of it is practice,” he admits, adding humorously “That’s the boring answer!” He directed, wrote, edited and produced this new film after a more commercial project fell through. “The more interesting answer is I had a much stronger sense of what I wanted to say and what I wanted to do. And it was much more personal.“

Johnson began his career as a dancer and paired with his talent behind the camera this grants Test a rare authenticity, especially for a micro-budgeted indie with “light suggestions of period". Johnson jokes that they just had to kind of point the camera up for lack of 1985. Joking aside, he knows just where to put the camera and I thank him profusely for letting us actually see the dancing rather than editing the movement into abstraction. He shares a list of inspiring films that got dancing right “Cabaret - Bob Fosse was an amazing director of dance, Pina did a genius job, The Red Shoes of course, Hair, Saturday Night Fever, Pennies From Heaven the Christopher Walken number is incredible.” 

Test-marlowewonders

Of course this all works in no small part because he hired actual dancers. I tell him I imagine it was tremendously difficult to cast.

“Yeah, it really was,” he admits. “The analogy I use is that a lot of people can carry a tune but they can’t do opera. This is sort of the opera equivalent of dance. Natalie Portman [in Black Swan] had a body double and we didn’t want to do that — The whole fun is seeing a real person do it. I met with different dancers and read them on camera – tricked them into auditioning to see if they were natural.” He settled on Scott Marlowe, a handsome dancer who gives an unforced engaging performance nailing Frankie’s nervousness and conflicting emotions around the test itself. But he's truly electric when he's dancing. “We workshopped for about six months. He thought it was free acting lessons, I thought it was free rehearsals so it was kind of a win-win.” The second lead Matthew Risch is a Broadway actor and dancer.

We reach the topic of sex scenes and I wonder if that’s easier with dancers who are used to performing shirtless and are, by profession, attuned to their bodies and physicality. “It’s always difficult to film sex scenes,” he says, discarding my theory. And then, rather unexpectedly, he recounts the shit he got from some members of the gay community when The New Twenty came out and the straight sex scenes were "robust" and the gay scenes weren't, which he thought was right for the plot and those characters. With Test “I wanted to prove I wasn’t squeamish about that.”  He’s very happy about the chemistry between his leads. They filmed the sex scene on Matthew's last day of the shoot. “It felt really real. If you have a four week shoot, you can’t redo and redo.”

One of the most striking story beats is Frankie's struggle to 'dance like a man.' It opens up dialogue about the enduring topic of performative “masculinity” that is so prevalent in gay culture. Was that always in the screenplay?

Test-dancehand

“Absolutely! It was one of the central motifs from the beginning." Johnson was drawing from personal experience. "As a dancer a choreographer actually did shout at me 'Dance like a man!'. I talked to very young gay dancers in ballet companies and they're still going through that. It's an aspect of the dance world a lot of people don't know about. They assume that because there's a lot of gay men in it that it's gay friendly and therefore there aren't any issues. That's not true. Mainstream dance depends on male / female tension like Hollywood. It's understandable. You're telling a story of erotic tension and we have to believe that. The problem comes when directors can't separate out sexual identity from the performance of gender of the body. Instead of saying ‘When you move your arm like this, it's a little soft and we need a harder feeling here,’ they say ‘You're too gay. Don't be gay!'."

And this ties neatly back into Test itself, which takes place when that message was pervasive and gays were scapegoated. "Frankie's getting the message from all sides 'What you are is worthless and you deserve to die from AIDS. And you're not even a man as a dancer.'"  We both agree that things are immeasurably better now however far we still have to go.

As for where this director is going, I'm happy to report that he wants to do more dance in film. But with the success of Test under his belt he’s also looking into developing for TV. Even better, because we need these cinematic voices, he says "I definitely want to stick with queer representation." 

TEST is currently showing theatrically in New York but it’s also available nationwide to rent or buy On Demand and at iTunes. This is a Test you should take.

 

TEST Trailer from Serious Productions on Vimeo.

 

Nathaniel Rogers would live in the movie theater but for the poor internet reception. He blogs daily at the Film Experience. Follow him on Twitter @nathanielr.

Comments

  1. throwslikeagirl says

    Can’t wait. Looks really good. I was there, and I’ll tell ya. it was one scary time. On another note, I’d include Fred Astaire’s dance sequences as some of the greatest ever filmed. He insisted having it written into his contracts that all of his dance pieces be filmed showing his full body.

  2. Mike in the Tundra says

    I was surprised it was 1985. I’ve always remembered it as my husband and I being tested a year or so later. Well, I never made note of the date. Basically, I just remember the waiting time. I also remember the friends who didn’t get good news.

  3. j says

    see it follows the tried and true gay flick requirement that men be young and pretty and appear as often as possible completely or partially unclothed
    both stills the lead has his shirt off

  4. says

    This s an excellent film touching on many f the things tat produce extended food fights in Towleroad comments. Specifically AIDS results in a demand for dancers to “re-closet” themselves by resisting “acting gay” (ie. dancing) in any way.

    It’s also remindful of when during the rehearsals for the original Broadway production of “West Side Story” Jerome Robbins attacked Larry Kert, claiming he was “acting like a faggot!” — a scene he performed in front of the entire company.

    He then went on to seduce Kert’s boyfriend.
    Jerry was a great choreography — and a vicious little queen.

  5. jeff says

    Parting Glances (1986) was one of the first and wasn’t about “death and dying”. It was about life, was full of diverse and real people, was a valentine to life in NYC, was beautifully directed, acted and written, and was, tragically, the only film made by Bill Sherwood.

  6. jim says

    Test is one of the best gay-themed films I’ve seen in a long time. I read a review that was so good it actually inspired me to purchase a download from Wolfe on Demand (and I never purchase downloads). Really wonderfully done, unique story development, the film goes into some nice areas, and the visuals and sound are very NON-indie (thank god). Johnson and his actors have done themselves proud. And Matthew Risch…whoah!

  7. JackFknTwist says

    It looks and sounds like an inspiring film.

    Reminds me of that line from ‘Two Boys Kissing’….by David Levithan:
    “We had the best songs.
    We taught you how to dance.”

    And all those issues of testing, quarantining, whether it was air borne, or cough/vapour borne…….and all so crushing.
    It’s such a history now I’m glad to see some good artistic telling of the Most Sorry Tale.

  8. Reverse Polarity says

    I saw this at a film festival last year. It really stood out as much better than a vast majority of gay indi films. The dancing was wonderful, and the lead actor brought real subtlety to the role. A really beautiful movie, in every regard.

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