DAY FIVE: I AM MICHAEL
Despite the singular semiotics of the label, homosexuality is revealing psychologically of the Doppleganger passage of the two, the duality of the mirror. The key scene of the three men in bed together in I Am Michael, perceived as a Dreieiningkeit (holy trinity), and the subsequent taking back of the projections, launches Michael on the inner journey, symbolized by a spiral. This is a real breakthrough, as you suspected, out of the after-postmodern and into a new modernism.
You ask, then, a second question in the press conference about the spiral. “Was it Michael’s symbol, a symbol you added, or just James drawing on pancakes?” The director answered that it is Michael’s motif and he believes everything comes from the symbol. “The spiral is an ancient symbol of the goddess.” Ha! There it is, your intervention by means of the boomerang. The symbol put out by men comes back from a woman, claiming it for the long-repressed goddess.
You read somewhere that James Franco was bred by his father to be a math whiz and dropped out of UCLA to become an actor. Who would have thought that his right-brain development through his celebrated creativity would expose the left-brain orientation of his early calling? Yet, repeatedly, James Franco’s use of number is a crucial clue to his media strategies, which go hand-in-hand with his implosion of academic boundaries, which keep mathematicians away from the creative arts.
The rebellious force has its own genius. The duality of the two entering the instability of the three sets up the condition for personal evolution. In leaving the habitual bed of the Dreieinigkeit for the uncertainty of the Third passage of the solitary inner journey, Michael lives out the mythical passage to the hieros gamos, culminating in a triumph for both Michael Glas and the actor who plays his conversion.