Schöneberg, Berlin, 1977. Ancient and strict Athenian gods warn a young man: “You! You told me you have been in a public toilet!” “I think you called it a ‘pick-up place’. And that you fucked a stranger in the ass there! And you even found it extremely satisfying!” “I find this to be totally objectifying and alienating.”
The boy answers the gods rudely: “Have not you ever been fantasizing about being fucked by a big dick without all the usual ranting first?”
The Greek gods can’t believe their own ears, and they are certainly also a bit envious: “This is completely shocking! Have you never heard of tenderness and equal relationships between men? Is that not what you demand?”
The audience at the night club Schwuz laughs at the god moralists. It is also not that long ago since Summer of Love created warm sensations in many a gut in the Western world – when the, at the time, left-wing had not yet been able to become the sexual-political knipeonkel.
It is the idealistic theater group Homosexual Action Westberlin who has made the theater piece the scene is taken from. The young members of the HAW meet every
Sunday afternoon to discuss homosexuality and capitalism, with the belief that it is possible to defeat this unfair economic system together with ordinary workers.
The group turns up with its own gay unit in the many demonstrations made by the left-wing in West Berlin. Always just in front of, or right behind, the anarchists – the only ones who really accept them. Many of the other “lefties” grab the flyers out of their hands.
HAW soon realize that their “federal fellows” are just as prejudice as the right-wing and the bourgeois: for straight people of all kinds, being gay is not political, but rather something private and pervert – just like the Norwegian AKPml considered homosexuality as a “civil deviation”.
My Wonderful West Berlin is a cinematic journey in what did not become Hitler’s dream, Germania, but rather the opposite – Gaymania. It travels from the hornyness and joy of the 60s, through the 80’s Aids disaster, to our present-day adaptability. The director, Jochen Hicks, depicts the decades when homosexuality went from being a disease and a personal problem to a quality one can be proud of and likes to talk about on television.
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