What a beautiful movie!

SERIOUSLY. This is what the crap Hollywood still puts out?

It really made me laugh, but for some moments I was tearing up because I could relate so much.

This is a gorgeous movie made by a gorgeous spirit.

I must admit, this Valentine's Day I have certainly picked unconventional romance movies to watch..."Tongues Untied" plays out like a visual poem, featuring monologues and images dealing with black homosexuality, all edited to create a truly powerful portrait to a little discussed subject matter.The main thing this film has going for it is its style. As I previously stated, its like a visual poem. Its a rhythmic and emotional odyssey through the lives of these people who, especially in 1989, have been represented very little in the media. At times, it gets a little to SJW and over the top, but their rage is somewhat valid. In the late 80s, being black and gay was much harder than it is in the mid 2010s.

Documentaries, well timed, make a difference. Especially when they are of the quality of this 1989-91 documentary about black men loving black men. TONGUES UNTIED was written and directed and narrated by Marton Riggs who with assistance from other gay Black men, especially poet Essex Hemphill, celebrates Black men loving Black men as a revolutionary act. The film intercuts footage of Hemphill reciting his poetry, Riggs telling the story of his growing up, scenes of men in social intercourse and dance, and various comic riffs, including a visit to the "Institute of Snap!thology," where men take lessons in how to snap their fingers: the sling snap, the point snap, the diva snap. The film closes with obituaries for victims of AIDS and archival footage of the civil rights movement placed next to footage of Black men marching in a gay pride parade.The film is a lyrical exploration of black gay identity in the United States. Made during a historical period marked by the onset of the AIDS crisis, the works navigate desire, love, loss, and mourning to engage and question sexual and political repression, expression, and deviation.Riggs's stories are fierce examples of homophobia and racism: the man refused entry to a gay bar because of his color; the college student left bleeding on the sidewalk after a gay-bashing; the loneliness and isolation of the drag queen. The stories also affirm the black gay male experience: protest marches, smoky bars, snap divas, humorous musicology, and vogue dancing. It is as timely today as it was in 1991 when it was aired on PBS, setting off a wild debate about the National Endowment for the Arts funding for art with nudity, gay themes, and pointed political commentary. Impressive and important.

Marlon Riggs' documentary "Tongues Untied" left a brief, but definitive impact on me. This documentary about gay African-American men reveals several poets, preachers, activists, and scholars. There is no narration in "Tongues Untied". Instead, all the dialogue is spoken in philosophical rhymes and poems. The documentary showcases, and even full-on exposes its praise for the black homosexual lifestyle, in an artistic and flamboyant fashion.As a filmmaker myself, I was drawn into how Riggs was able to explain the persecution of homosexuals without having a sit-down interview, and instead uses stand-up performances, poetry, and symbolism to prove his point. From the confines of a gay black man's isolation and loneliness, to the exciting experiences of the San Francisco "Castro" district, Riggs took the audience to some fascinating, and often times deplorable world that gay black men face every day of their lives.I was a little annoyed by the pacing of the film. There were some parts that had me yawning. But "Tongues Untied" sends a powerful message of tolerance, culture, and tradition from a filmmaker who is sadly no longer with us. This documentary captured my attention, and I enjoyed it thoroughly.

"Black men loving black men is a revolutionary act." It is also a documentary act which is straightforward, polemic, complex, with heart, with gusto. With diction that fights affliction, this is its basic weapon of beauty, as if its undercurrent was "beauty is no booty for the enemy".For me, a gay white male from Greece, this documentary, coming from my oblique point of view (oblique because being gay in Greece, despite its, rather ironic, pederastic tradition, is quite apart with the issues and the culture of the film, yet the sense of segregation and tradition rings familiar), descriptively it feels like a star-crossed breed of gospel and guerrilla video art.Its veins are pounding deep; being a writer and translator, listening to such keen, sexy, visceral rhythms by the imposing figure of Essex Hemphill, was a revelation with an obsessive glow.And Marlon Briggs' narration, spacious and incisive, unflinching and embracing, with an amazing sense of building-up, leaves me bewildered, more so for appearing somewhat tuned down at first.For anyone liking the feeling of words doing as they want to do and as they have to do, as Gertrude Stein admirably put it, this is a definite watch.