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Popular Culture Review
written by Glenn O’Brien and directed by Edo Bertoglio, stars Jean-Michel
Basquiat as the main character, who is also named, Jean, the film oddly enough
does not position itself as a documentary or biography of the artist. A voiceover
spoken by Debbie Harry during the opening credits claims, “any resemblance
between the characters and events depicted here is purely magical.” There are,
however, stark similarities between Jean the character and Jean-Michel
Basquiat, so much so that the film has the capacity to operate as a documentary.
Dave Kehr notes that both are “struggling musicians and graffiti artists living on
the Lower East Side, trying to patch a life together from cadged meals and drink
tickets and the occasional sale of a painting” (1). Moreover, certain events that
have occurred between the film’s creation in 1980-81 as New York Beat and its
release in 2000 under the new title. Downtown 81, mainly the corporatization of
New York, Basquiat’s death, and his continued and increasing popularity, also
allow the film to serve as a documentary of the artist and of New York in the
early 1980s. Even its writer, Glen O’Brien, maintains that “when we made it, it
was a film about a time and place; twenty years later, it’s a film about JeanMichel Basquiat.” Downtown 81 might not present itself as a day in the life of
Jean-Michel Basquiat, but it certainly can be viewed that way, especially today.
While Basquiat and Downtown 81 are two very different films, they both work
as representations of the artist in real life, and, as such, they play key roles in
constructing a popular memory of the artist’s sexuality.
The image of Basquiat as a black stud with easy access to white women
is established very early on in Downtown 81 and is consistently maintained
throughout. In one of the film’s opening scenes, a white woman, whom Jean
does not know but who he soon finds out to be a wealthy model named Beatrice,
asks him if he wants a ride downtown as he stands on a street corner blowing his
alto saxophone. To show her apparent sexual attraction to him the camera slows
down and lingers on her face to capture her interested look. The music Jean
plays and that is also playing over the scene courtesy of John Laurie and the
Lounge Lizards is also intended to sexualize their meeting. During the ride
itself, it becomes clear that Jean is also attracted to her. In a voiceover we hear
Jean say, “1 couldn’t take my eyes off her. The feeling was mutual.” Throughout
the ride, Jean and Beatrice exchange loving glances as he pages through her
modeling portfolio. They both agree that it feels as though they have met before.
As the ride comes to an end, Beatrice, who can see that Jean is a struggling but
talented artist, asks him, “why don’t you let me take care of you for the rest of
your life?” Although the voiceover tells the audience that Jean thinks that
Beatrice is beautiful, rich, and interested in him, he doesn’t give her an answer
either way. He simply says that he “hopes to see her later,” gives her a kiss
goodbye, and leaves. Jean, however, later spends the better part of the night
looking for her.
Jean runs into Beatrice again near the end of the film. They exchange
pleasantries, and then Jean informs her, in response to her question earlier, that
he thinks he is going to take care of himself Upon hearing his response, the