I met James and Joel in the mid-80s in Portland, Oregon when I projected a program of James’ films. They both came up to the booth before the screening to check out the projection and we chatted for a few minutes. What I cannot forget about him was his eyes and his smile. His look was not one of confrontation but of welcome. His smile was impish. Yet there also seemed a shyness just under the surface. None of this information prepared me for the films to come, especially ‘Godbody.’
When the films were over I came down from the booth for Q&A. The theater manager was all wound up, going on about how offensive Broughton’s films were and how several people had walked out expressing their disgust. He even suggested that films like this should not be allowed to be seen.
I was flabbergasted. These reactions made absolutely no sense to me. James’ films included some of the freest (and freeing), luscious, explicit, romping, and most joy-filled work I had ever experienced. His work made me immensely happy. I saw it as a hand held palm-upward, suggesting “you too can hold this possibility.”
And then it dawned on me: many people are afraid of freedom, of the unsettling possibilities of discovery, of pleasure expressed openly and uninhibitedly. This was the moment I realized how utterly revolutionary James’ work was. Seeing the few clips on the Big Joy site reminded me how revolutionary his work remains. The truly revolutionary aspect of his work, for me, is its celebration of love in any and every manifestation.
I am thrilled to have discovered this project honoring such a joy-filled and impish person.
— David Bryant, Portland, OR