Peter de Rome Grandfather of Gay Porn is a new documentary by Ethan Reid. It chronicles the life and work of British filmmaker Peter de Rome, who began shooting erotic gay shorts in the 1960s, at a time when homosexual sex (and pornography itself) was still illegal.

What most struck me about the film was how charming de Rome is in it. He really does feel like a grandfather – the kind of grandfather I'm sure a lot of LGBTQ individuals wish we'd had growing up. Reid agreed, saying that in addition to being charming, de Rome was “educated, well-spoken, and an encyclopedia of film knowledge. Also Greek myths. He had so many interests.”

Reid also noted that through the course of the film, he discovered that he was born in the same town as de Rome, which made him feel even more of a bond with the man. Together, Reid and de Rome explored the areas where de Rome had some of his sexual exploits, and they were some of the same spots by the beach where Reid had played as a young boy.

De Rome grew up in the era when homosexuality was just coming into cultural consciousness, and was therefore able to live a childhood free from shame or guilt about his sexual exploitations.  For de Rome, sex was free and easy, clean and healthy. It was something he could explore with who he liked, and there was the sense that he wasn't hurting anybody.

Though de Rome has since earned the moniker “grandfather of gay porn,” his films bear little resemblance to much of the current gay porn industry. A theme that emerges time and again in Reid's film is the importance of the storytelling de Rome brings to his work.

The shorts de Rome created focused as much on the arousal of the subjects as on the act of consummation itself. Reid said that to de Rome, “the sex act was not as important as the path to get to that – titillation and arousal.” Even his feature films like The Destroying Angel are much closer to avant-garde film than what we would now consider traditional porn.

“I'm often accused that my films are made 'purely for titillation,'” de Rome recalled. “If by titillation we mean the pleasure of excitement, That is exactly why they are made. I can think of no better reason.”

While some might admonish de Rome's films for their playful titillation, others enjoy the fun, erotic spirit he brings to his work. In the post-AIDS era, I agree that it's important to re-embrace the idea of sex as a fun, playful, and joyful experience. Reid agreed saying, “That's what is missing as we stand now – the pleasure principle. The fun of it.”

By creating films such as “The Fire Island Kids,” de Rome was able to share that sense of happy, free sexual enjoyment with others. The films de Rome was shooting in the 60s and 70s were some of the first to show gay characters in a narrative that didn't end with suicide.

In addition to his film-career, Reid's documentary explores de Rome's connection to the Stonewall Riots in New York City and his participation in the Wolfenden Report of 1957, which helped to decriminalize gay sex in Britain. By the end of the film, it is clear that de Rome's life and work is truly a legacy to the LGBTQ movement, as well sex-positivity itself.

Reid noted, however, that it was difficult to draw de Rome into any sort of political talk. Reid said he felt this was disingenuous on de Rome's part, given his work with the Civil Rights Movement. “A lot of his partners were black men,” Reid admitted. “I think he didn't want to confuse his private life with what he did there [in Alabama].”

A political or racial critique of de Rome' work is really the only thing I think is missing from the film, but given the circumstances of its creation, it's an understandable omission.

If one can consider de Rome's career a series of happy accidents, the creation of the documentary is another chapter in that story. Without the work of a few key players, de Rome's work might have remained in obscurity, unknown to younger generations of LGBTQ individuals both here and abroad.

Reid said he was asked to create the film by David McGillivray, who would become the Executive Producer. McGillivray had worked as a journalist and was an avid fan of de Rome's work. He was also a friend Brian Robinson, curator of the British Film Institute (BFI) (http://www.bfi.org.uk/archive-collections), which holds one of the largest film collections in the world.

Reid said de Rome's work had bubbled up sporadically over the years, as he wrote film reviews from time to time. Robinson read the articles and happened to remember the name. Then, in 2006, Rupert Smith wrote an article in Gay Times which referenced de Rome's work.

When de Rome wrote to thank him, Smith helped him get in touch with Robinson and the UK's BFI National Archive. Subsequently, de Rome donated his 8mm film archive to the BFI for preservation. Robinson asked McGillivray to write the liner notes for their release of The Erotic Films of Peter de Rome, but he said he'd rather make a film. 

There wasn't even a budget for the film, which was shot in fragments and later pieced together. “Not only did [de Rome] create incredibly interesting, great films in his own right,” Reid said. “But they're now social artifacts in some ways. And he was hiding them under his bed in his Manhattan apartment.”

Reid's documentary ended up being timelier than anyone would have realized. Peter de Rome died June 21 of this year after complications due to a battle with leukemia.

Reid said de Rome's death was very shocking for those who knew him, and that it made the BFI's work to honor him at once more poignant and sad. “He lived a slightly outsider existence,” Reid said. “He believed his work would never be accepted by mainstream culture. Even when it was, he couldn't quite believe it happened.”

De Rome was able to see several of his films presented by the BFI, and receive an award for his work before the end. “I was doing something that was – let’s face it – forbidden, but I really wasn't scared by that,” de Rome remembered. “Now, I feel it was all worthwhile.”

In the documentary footage, de Rome admits, “I never would have thought the BFI would recognize my films. It's very gratifying.” He went on to say, “The great thing about being rediscovered is that a whole new generation gets to see my films.” I think we'd all agree. 

Reid noted that de Rome was an artist before his time, the likes of which are often honored years later. “He was living quite a modern lifestyle before it became acceptable,” Reid explained.

In the end, Reid's documentary stands as a testament to an extraordinary man and creative artist who was among the first to revel in, record, and share the joy and pleasure it is possible for LGBTQ people to experience with one another. De Rome recalled with a smile the decades-long friendships he maintained with many of his former lovers, defying stereotypes that LGBTQ are broken or unable to love.

Though we are still struggling to achieve equality in many ways, it's important to remember how far we've come. Reid's film shows us just that, providing a glimpse into the life of a man unencumbered by shame, whose joyful explorations of sexual excitement and pleasure can now thankfully be remembered, watched, and cherished by generations to come.

“I don't doubt it's a better world than it used to be,” Reid said. “You don't have to hide that anymore. I don't think you can ever give up the battle. I do think modern world attitudes toward gay culture have changed for the better. Thank God for that.”

Peter de Rome: Grandfather of Gay Porn made its US premiere at aGLIFF Saturday, Sept. 13 at 9:30pm at the Alamo Drafthouse South Lamar.

This review was originally published by The Horn on 09/13/2014.

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