*I’m always writing these huge ambitious metas about stuff, but this is the kind of stuff that sits in my brain until I can get it out. So here goes:
I don’t really like the word “problematic”, as I feel its overused, but its entirely accurate when it comes to this particular director. In 1988, Victor Salva was convicted of sexual misconduct, with the then 12 year old star of his movie, Clownhouse. He pleaded guilty to lewd and lascivious conduct and spent 3 years in prison. He was registered as a sex offender and is no longer allowed to be alone with children on his film sets.
Victor Salva, more than any other director, is the one of the poster children, not just for White male privilege, but the issue of separating the artist from their art. One of the things that makes it so difficult to to do this with Salva, is that his sordid past keeps intruding into his art, which once you know about it, is impossible to unknow.
*(This Vice article, written back in 2012, lets me know I’m not the only person who has noticed this about Salva’s films.)
Victor Salva Loves Terrorizing Semi-Naked Youths
After Salva was released from prison, he was offered a movie to direct by Disney, in 1995, called Powder, starring Jeff Goldblum, Sean Patrick Flannery, Lance Henriksen, and Mary Steenbergen, about a young albino genius, named Jeremy “Powder” Reed, who has electrical powers. At the movie’s release, Salva’s former victim came forward to protest the release of the film. Salva has not worked with Disney since that time.
All this would just be a footnote, and Powder would be just another of those movies lost to history, except Salva went on to make several more films, and is now, with the help of Francis Ford Coppola, about to direct another Jeepers Creepers sequel. And when watching any of Salva’s movies r you start to notice a disturbing tendency to focus on his young male stars in ways that remind the viewer of his past transgressions.
Salva’s films, The Nature of the Beast (1995), starring Lance Henriksen again, Powder (1996), Jeepers Creepers (2001), and its sequel (2003), contain scenes that, while we might find them not worth remarking about any other time, in light of Salva’s history, these moments are…disturbing. Now, he’s set to produce and direct Jeepers Creepers 3, and I’m debating whether or not I should see this movie. I watched these movies, the first time, wholly unaware of Salva’s background.
For example, in one of the more controversial scenes in Powder, Jeff Goldblum’s character, Donald Ripley, finds Jeremy alone in a room, and tries to form an emotional connection to him. In any other movie, this would be a beautiful moment, and an example of non-toxic masculinity, between an empathetic older man, and a young man who is starved for affection. At least that’s how I watched it the first time, but with knowledge of Salva’s background, the scene becomes distinctly creepy. Ripley slowly caresses Jeremy’s face and head. Jeremy, who has never been shown any form of physical affection, nearly breaks down in tears.
“You touched me and I’ve had better sex than I’ve had in ten years… I want to be a friend.”- Jeff Goldblum’s character actually says this in the movie.
There’s another scene where Jeremy, unable to participate himself, (he doesn’t know how), watches a group of teenage boys play touch football. This entire scene is shot in the most romanticized, slow motion manner, very obviously making these teenage boys the subject of the viewer’s gaze, in a style that’s usually reserve for nubile young women (think the opening scene of the 1977 movie, Carrie). One of the young men is filmed in loving slow motion, taking off his shirt, as Jeremy surreptitiously peers at him through a doorway. His manner is curious and secretive. When the young man catches Jeremy watching, he attacks him with homophobic slurs, and beats him up.
There’s something about this scene that’s less disturbing than the previous one. This scene at least serves the purpose of allegory, as Jeremy has already been positioned, within the narrative, as a hated outsider, who must be destroyed. The idea that he might be gay (or Bi) is set up in advance. The indictment of this scene is not in Jeremy’s actions, but in the reactions of the other characters. It also feels somewhat autobiographical on Salva’s part as something very like this scene makes its way into all of Salva’s movies.
Actually, the plot of Powder features repeated attempts by Jeremy to reach out and form emotional connections with the other teenagers around him, and he is violently rebuffed every time. Earlier, he tried to form an attachment with one of the young local ladies, but is physically threatened and assaulted by the girl’s father. Jeremy, who is telepathic, desperately craves emotional connection, having lived in isolation his whole life, but finds it impossible throughout the course of the film. On the other hand, you are constantly distracted from the plot by seeing Jeremy’s naked chest filmed in loving closeup for much of the movie.
This is something that also plays out in some of Salva’s other films, with at least one character trying to form a connection to another, and getting violently rejected, which makes me wonder if this is some personal incident that Salva relates to. Is the reliving of this, over and over, in his movies, the fallout of his stint in prison? Are these bullying scenes Salva’s manner of saying that he was bullied by the state for his predilections?
In The Nature of The Beast (1995) Lance Hendrickson (Jack) and Eric Roberts (Adrian) play two men of the road. One claims to be a salesman, the other is a no account drifter who decides, for his own amusement, and to his misfortune, to play a Cat and Mouse game with Lance’s character. Adrian tries to form a connection to Jack, but Jack has nothing but disdain for him, and will have nothing to do with the shiftless fellow because Adrian is nothing but trouble. Adrian teases Jack about knowing his deep dark secret, and it is implied that Jack’s secret is that he is gay, though he says he’s not. Actually, his deep dark secret is that he is a serial killer. (And no, I don’t care for the conflation between serial killing and homosexuality, either.)
In 1999 Salva directed a movie titled Rites of Passage, which I’d never heard of until this post, so I had to Google it. I came across this trailer:
I’m actually intrigued by the subject of this movie, and plan to watch this, if I can find a free copy somewhere. This movie seems like a psycho-sexual thriller, in the vein of Basic Instinct, with more than a hint of The Nature of the Beast. (The term Rites of Passage means an event marking a change in status, most specifically it’s a ceremony or event applied to young boys to mark their transition to manhood.) The entire cast is male and, once again, has a scene where a closeted character is challenged by a straight character about his sexuality, according to the trailer.There is always a no-homo scene in Salva’s movies. Someone is suspected, or accused, of being gay and they have to assert that they’re not.
Rites of Passage seems to be a little more straightforward in its depiction of homosexuality, (even though it’s love scenes are filmed in the Calgon Bubble Bath style of filmmaking.) The interesting thing about Salva’s films is its depictions of toxic masculinity in the form of identity shaming. The actual homoerotic moments are filmed in a frank and open manner, with no shame attached to them, and the characters who are accused of being gay are often not ashamed of their behavior, until made to feel that way by some other character.
Its difficult to separate the art from the artist, or know how much of the plot can even be attributed to Salva. Divorced from any background knowledge of the director, the movies actually send a lowkey positive message about homosexuality, and being different.
The very first time I paid any attention to this director, was after I saw Jeepers Creepers in 2001. I took my youngest sister to see it at the theater, and the homoerotic nudging and winking went entirely over both our heads, at the time. Although in this film, the nudging and winking is less blatant, so its easier to miss. It is only upon repeated viewing that I came to understand that the lead character, Darry,played by Justin Long, is heavily coded as a gay man.
While traveling home for the holidays, Darry and Trish run afoul of The Creeper, who sets his sights on acquiring Darry. I remember being surprised at the ending of the movie when Trish, realizing her brother is the monster’s target, offers herself in exchange, but The Creeper rejects her, and takes Darry. I missed a lot of things about Darry because the movie does have another issue that bothered me more and that was the addition of a “Magical Negro”, played by Patricia Belcher.
The Magical Negro in Jeepers Creepers was like, Hmmm some total white strangers need my help? To the Blackmobile! Brilz
Jezelle swans into the narrative to provide what some needed exposition. Every 23 years, for 23 days, The Creeper, is released from his stasis, so that he can eat people. The people he eats seem to consist entirely of pretty, young, White boys, and his modus operandi is to get the scent of some boy he fancies, and pursue them until he can devour what parts of them he needs to reconstitute his decaying body. Since The Creeper is identified as a male, it’s understandable he’d just chase after other males, but nevertheless, we have yet another plot where you have an older male, pursuing young men, which is another staple of Salva’s movies.
I have no idea if Salva is doing this on purpose, or if he’s even aware what he’s doing. Is he teasing the audience with his backstory? Is he trying to work out his personal dilemmas in his movies? Has he changed as a person at all, or is he just trying to normalize pedophilia? I don’t know the man, so I can’t say what’s going on in his head, but it’s clear he’s obsessed with the idea of pretty, young, White men, being chased by older men.
At one point in the movie, The Creeper is caught sniffing Darry’s laundry, after he’s broken into his car. Darry holds up a pair of pink jockey shorts and says that now the monster knows his name. Why his shorts are pink is explained in the movie, but not why his name is on them. This scene is somewhat gratuitous because there’s no payoff for it. The monster never speaks, and we’re certain he doesn’t care what Darry’s name is, since he already has his scent, so why are we informed that Darry’s name is on his shorts?
At the time I saw this movie, I was unaware that “sniffing” was even a sexual activity. Like I said, most of the sexual coding went over our heads, but not all of it. Even I thought that scene was odd when I first saw the movie. Part of the reason why this is, is the reaction of the other characters. A waitress witnesses the laundry sniffing and is outraged, but one gets the sense that she’s not upset about the activity, so much as the monster did it in a public place. Earlier, Trish teased Darry about his pink Jockey shorts, but she doesn’t say anything about the sniffing, other than to say she’s surprised the smell didn’t knock him out. She does not react to the idea of a stranger sniffing someone’s laundry. No one in the story finds the idea of laundry sniffing odd or repugnant. ( Not to kinkshame, but if you mentioned such a thing to the real life versions of the small town people in this movie, you’d get that reaction.)
When Trish gently implies that he may be gay, Darry just shrugs, and when he finds out the monster has been sniffing his laundry, he seems more upset that The Creeper knows his name, than at the idea that this strange man (at this point they don’t know it’s a monster) has been sniffing his shorts.
Then finally there’s Jeepers Creepers II (2003)
If you didn’t think anything untoward about all of the scenes I just listed and don’t think they mean anything, than how about the sequel to Jeepers Creepers. All of the most questionable moments of Salva’s movies, are amplified in this movie. In fact his movie continues to make the lists of most unintentionally gay horror movies, but its not at all unintentional if it’s a pattern in all his movies.
It’s been three days since Darry’s kidnapping and The Creeper, disguised as a scarecrow, snatches a young pre-teen boy right from under his father’s ,and older brother’s noses. Later that day, The Creeper attacks a bus load of boys returning from a basketball game. He kills the coaches, and the heavily coded as lesbian bus driver, before spending most of that day and night, terrorizing the stranded teens.
Most of the plot takes place aboard the bus, giving the teenage boys lots of opportunity to engage in: racist discussions, gay rumormongering, kinkshaming, sunbathing together on the roof of the bus, ignoring the cheerleaders, and strangest of all, peeing in groups. In the first movie, there is a scene of Darry peeing, and another one in Powder.
At one point, The Creeper terrorizes the teenagers by singling out which ones he’s interested in by licking the windows, so some of his behavior is blatantly sexually predatory, and the teammates argue about his interest in them for some time after this. The issue with these movies is that many of the things,the viewer notices, can be explained away in the moment, and look unintentional. Its only after repeated viewing of all Salva’s movies, and knowledge of Salva’s sordid history, that one realizes that young men, as a rule, do not engage in group sunbathing and peeing sessions, and none of these things are unintended.
Scott, one of the team leaders is basically the poster child for entitled, angry White boys. He’s racist, homophobic, sullen, and petty, and spends most of his time attacking the Black players, and the one team member suspected of being gay, named Izzy. At no point in the narrative is Scott set up as a sympathetic character, though, which is also in line with Salva’s other movies. Like all the other bullies in Salva’s movies, he is a cartoon villain, entitled, opinionated, and a massive coward. The hero turns out to be Izzy and his Black teammate, named Double D. They both work hard to save their team mates, and live to the end of the movie. Complicating matters is the arrival of the father of the little boy who was kidnapped at the beginning of the movie.
Salva isn’t a bad filmmaker. He manages to pack some subtle messages about social justice into some effective, action packed movies, and the movies are well directed, and written. But that sordid past, though…
Are we meant to forgive Salva? After all, he’s paid his dues, spent his jail time. He has, as far as the public knows, engaged in no recidivism. Can’t we all forget about it, and move on, as long as he’s following the rules? Is he just working through his issues in his films? Normally we would give the benefit of the doubt, but Salva’s focus on the young male body, and the attendant homo-eroticism in his movies, makes that difficult.
*To read what Salva himself has to say about his past: