December 3, 1966, Oscar winning filmmaker Shirley Clarke invites Jason Holiday, a black gay hustler, drug addict and transient to her Chelsea Hotel penthouse in New York City to film him for 12 hours nonstop telling stories from his turbulent life. This became 'Portrait of Jason,' a pioneering documentary hailed for its unflinching look at race and sexuality. Yet some accused Shirley Clarke of exploitation, as she and her partner Carl Lee, a brilliant African American actor a... (Full plot summary below)
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December 3, 1966, Oscar winning filmmaker Shirley Clarke invites Jason Holiday, a black gay hustler, drug addict and transient to her Chelsea Hotel penthouse in New York City to film him for 12 hours nonstop telling stories from his turbulent life. This became 'Portrait of Jason,' a pioneering documentary hailed for its unflinching look at race and sexuality. Yet some accused Shirley Clarke of exploitation, as she and her partner Carl Lee, a brilliant African American actor and heroin user, hint as a love triangle between the three of them, as they goad Jason into a terrible on-screen nervous breakdown. We go behind the scenes of that day, and tell the story from Jason's intoxicated yet completely self-aware and surreal point of view.
Leave your thoughts about Jason and Shirley.
| Village VoiceAlan ScherstuhlJason and Shirley is imprecise, even maddening history, but it's hair-raising as historicity: Exposed here is the longstanding and somewhat vampiric process of white artists extracting for their work minority perspectives and experiences. |
| The New York TimesBen KenigsbergFlashbacks and fantasy sequences undercut the claustrophobic atmosphere. What’s left is amateurish play acting — pointless for anyone who hasn’t seen “Portrait of Jason” and redundant for those who have. |
| CraveOnlineErnest HardyMercifully, it's never too pedantic (it skirts close a few times) and is often quite funny - as when she gets in digs at Andy Warhol. But the film never really gets at the hostilities lobbed at Jason. |
| Slant MagazineChuck BowenStephen Winter's film doesn't earn the gall it evinces by pissing on Shirley Clarke's masterpiece. |
