THE VOICE OF CHICAGO'S GAY, LESBIAN, BI, TRANS AND QUEER COMMUNITY SINCE 1985

To the poetic words of Riggs, Essex Hemphill and others who often address the camera, the film presents a series of vignettes that speak directly to the gay Black man's experience: a man refused entry to a gay bar because of his color; a college student left for dead after a vicious gay-bashing; a drag queen, proud and lonely walking the streets in full glory ( set to the music of Billie Holiday and Nina Simone ) ; the devastation of AIDS; and the overwhelming homophobia Black gays experience from their fellow African Americans. ( Clips from Eddie Murphy's concert movies are vivid examples of the latter. ) Much of the film is set, literally, to a thumping heartbeat—an aural reminder that the viewer is immersed in a vital, breathing subculture that thrives no matter how much the rest of the world tries to deny it.

To affirm that Riggs also presents joyful stories and images, we see Black men rallying at protest marches and at ACT-UP protests; offering voguing demonstrations ( featuring the late Willi Ninja and others from Paris Is Burning ) ; a gaggle of humorous 'snap' divas; and an a capella group unabashedly singing about love for another man. Though the anger is almost always just beneath the surface, these positive images and stories balance the film. 'Silence is my shield. It crushes. Silence is my cloak. It smothers,' one of the poets speaks at one point, beautifully describing this innate anger but, by the film's conclusion, the balance has shifted and Riggs ends the film with a message of hope: 'Now I speak and now my burden is lightened.' Sadly, Riggs, who died in 1994 of AIDS, didn't live to see a world that would embrace groundbreaking gay African-American projects like the indie film Brother to Brother, LOGO's Noah's Arc television series ( soon to be a motion picture ) and even the sassy British comedy Kinky Boots.

Tongues Untied first aired on PBS in July 1991 on P.O.V. and it's not hard to see why it caused such a fuss, given the era's public debate over arts funding for both queer artistic projects and anything that smacked of 'pornography.' ( Though the film contains brief nudity, it's far from that. ) Riggs defended his film in print and in an interview that accompanied the program. The latter is included as a special feature on the DVD, as are new interviews with filmmaker Isaac Julien, AIDS activist Phill Wilson, rap artist Juba Kalamka and cultural critic Herman Gray, who discuss the importance of the film. A smattering of deleted scenes are another bonus feature. From Frameline and Strand Releasing.

Bette Davis and Joan Crawford are back, and the battle for dominance between these two late movie divas heats up again with several new DVD releases. In one corner, we have the glamorous Crawford, who learned to become an actress and, in the other corner, we have her eternal opponent Davis, who was always an actress and certainly behaved like a star. The films of each are expertly made products from the Hollywood factory that highlighted their individual strengths, shaped their public personas, continue to show both at their peak and remain enormously entertaining with equal parts sincerity and hokum.

Crawford is represented by Warner Home Video's Joan Crawford Collection, Volume 2, a five-film set that spans 1934-1953. The films—1934's Sadie McKee, 1940's Strange Cargo, 1941's A Woman's Face, 1949's Flamingo Road and 1953's Torch Song—succinctly capture Crawford's evolution from fresh-faced star to Great Actress, and the last two films in the set vividly showcase her tenacity. All are new to DVD and are certainly a welcome addition for any Crawford fan. The actress is also seen this month in 1947's Daisy Kenyon ( from Fox Home Video ) , a noir-like movie in which Crawford must decide between bad boy Dana Andrews and goodie-two-shoes Henry Fonda.

Davis, not to be outdone, will soon be represented by her third collection from Warner Home Video. The collection, being released in early April, covers 1938-1946. The six films ( high falutin' melodramas all ) are The Old Maid, All This and Heaven Too, The Great Lie, In This Our Life, Watch on the Rhine and Deception. Though not quite the star vehicles that power the Crawford set, Davis certainly holds her own in the Great Actress department. A week after this release, 20th Century Fox gives us The Bette Davis Centenary Celebration Collection that features a welcome special edition of 1950's All About Eve ( containing Davis' penultimate performance ) along with the so-so Phone Call from a Stranger ( new to DVD ) , minor The Virgin Queen ( with co-star Joan Collins and new to DVD ) , 1964's big-budget horror mystery Hush, Hush, Sweet Charlotte and one of my favorites, 1965's The Nanny ( also new to DVD ) , in which Davis goes after one of her charges with the intention of smothering him with a pillow.

Did Davis have Crawford in mind when she filmed the scene?

Film Note: The third annual Sound of Silent Film Festival, an evening of modern silent films with music scores performed live, takes place Wed., March 26, at the Chopin Theatre, 1543 W. Division, at 7:30 p.m. The five films on the bill are Native New Yorker, Elastic Stronghold, Birdcatcher ( a Chicago underground film fest semifinalist ) , The Purse Belongs to Her and Bajalica. Tickets are $10 in advance, $12 at the door. www.acmusic.org .

Check out my archived reviews at www.windycitytimes.com or www.knightatthemovies.com . Readers can leave feedback at the latter Web site, where there is also ordering information on my new book of collected film reviews, Knight at the Movies 2004-2006.