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The poster that lured Bruno's victims to a wrestling event in Fort Smith, Arkansas

How Real Is 'Brüno'?

Is Sacha Baron Cohen's new movie as staged as his MTV Awards brawl with Eminem? An exclusive look at a small Southern town presented as a hotbed of homophobia in the film.

 

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Erin Fowler rang in his 21st birthday last September in the time-honored tradition of college students everywhere: with drinking and dancing, starting at a club and ending at a popular local bar in Ft. Smith, Ark. While he celebrated over drinks, the melancholy strains of a slow country song came over the sound system—the universal cue to couple up for a slow dance—so he reached for his boyfriend, 25-year-old Dennis Marriott. The two drew close together on the dance floor, swaying to Tammy Wynette's "Stand by Your Man."

But what started out innocently enough—"We weren't grinding, just slow-dancing," says Fowler—quickly turned ugly. An angry voice came over the speakers telling the couple to "Get your butts off of the floor!" and the rest of the bar started booing, cursing, and hurling epithets at them. When they left later, they found the fender of their Nissan Altima smashed in. The mark is still there.

If Sacha Baron Cohen's latest film, Brüno, is to be trusted, this story is typical of Ft. Smith, a Wild-West-meets-Old-South city wedged between the Ozarks and the Oklahoma border. Cohen's titular character is a swishy fashion journalist from Austria who bares his midriff in front of the world's most intolerant scenery: an extremely conservative Hasidic community in Israel, for example, or the lair of a supposed Bethlehem-based suicide-bombing sect. You can probably guess the results from the film's trailer. But against this stiff competition, it is Ft. Smith that comes across as the real hotbed of homophobia. The film's penultimate, climactic scene is an arena cage fight held in the town, where sparring between Brüno and his assistant escalates into a passionate embrace, then a sloppy makeout session, and finally, a sensual striptease. The enraged onlookers go wild, turning their beer cups, food wrappers, and even a metal chair into munitions. The trash rains in slow motion to Céline Dion's "My Heart Will Go On," offering a desperately bleak montage of American narrow-mindedness.

Marriott and Fowler may have avoided physical assault at the bar, but their accounts of being openly gay in Ft. Smith are filled with similar stories. Rocks with "fag" scrawled on them have been hurled at the home they share; Fowler, who's studying to be a history teacher, was excommunicated from his Jehovah's Witness faith and kicked out of his childhood home by his parents. Marriott, a marketing student who formerly had a side job as a Wal-Mart cashier, says patrons frequently skipped his line and told others to do the same to avoid contact with "the fairy."

But others in the community are upset. What appears in the film, they say, was indicative not of regional intolerance but of heavy-handed stage management.

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Member Comments

  • Posted By: lekkerbeffen @ 09/05/2009 1:18:04 PM

    ...I think the stereotype of person that goes to events advertised as 'HOT CHICKS, COLD BEER, HARDCORE FIGHTS' IS a homophobic and just the perfect moron for the scene. This article tries to make up for the people there while they, drunk or not, just showed themselves whom they really are: homophobic rednecks

  • Posted By: vmuratore @ 09/01/2009 4:45:03 PM

    It's not "morays, hon. That's the eel. If you mean standards and values, you spell it "more" with an accent on the "e".

  • Posted By: schybridcollective @ 07/20/2009 6:52:19 PM

    This is not exactly like 'blackface' or 'gayface'- in fact, it is rather the opposite. Cohen satirizes ludicrous homophobic stereotypes in order to provide a comical, poignant analysis of extreme sexual attitudes and morays that exist within regional, insular communities that exist all over the world. I would assert that if one were to insist on drawing the onerous comparisons between Bruno and black-sploitation films- more modern parodies such as 'bamboozled' or 'pootytang' would be far more analagous. Cohen is following in the vein of Voltaire, providing critical social commentary that forces us to examine our societal behavior and values. To state that Bruno is simply a "gaysploitation" film is to miss the substantive social critique not-so-discreetly veiled by the a facade of stereotypes and adolescent humor used to attract American audiences to the box office.

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