“Do you want to come cruising with me?”: Navigating Gay Sexual Identity in 1980s German Film
Written by Andrew Dearman
As I settled into a screening of Coming Out (East Germany, 1989), I immediately noticed that it resembled another German queer film I had encountered a year prior. Released at the beginning of the decade, Taxi zum Klo (Taxi to the Toilet; West Germany, 1981) follows a similar narrative, centring on a middle-aged schoolteacher navigating his sexuality. This comparative framework solidified in my mind within the first few minutes of the screening and influenced my viewing experience. I immediately knew that my next article would explore the similarities and differences between these two films and their depictions of queerness on either side of the Berlin Wall.
“Do you want to come cruising with me?”
This opening line introduces the preoccupation of Taxi zum Klo’s protagonist, Frank, played by the film’s director, Frank Ripploh. During the day, Frank is a competent and caring schoolteacher, but his personal time is used exclusively for cruising and exploring the boundaries of his sexuality. The arrival of Bernd (Bernd Broaderup) challenges Frank's lifestyle as he soon moves in with Frank and attempts to establish a stable and traditional relationship.
The film’s central conflict arises from Frank’s persistent pursuit of anonymous sexual encounters and his disregard for Bernd’s patience and kindness. Ultimately, the couple’s final argument at a queer ball culminates in Bernd abandoning the city and Frank directly going to his school, still dressed in drag.
Upon its international release, Taxi zum Klo was met with controversy, primarily owing to graphic scenes of unsimulated sex. The film was denied a general release in the UK unless it was subjected to severe editing, and a fully uncut version was not released until 2011. The work is semi-autobiographical, drawn from the experiences of its director and lead actor, Frank Ripploh, who was disciplined by school authorities after publicly coming out as gay. This led him to leave his profession to pursue filmmaking, with the resulting film presenting a distinctively raw and personal account of queer existence in 1980s West Berlin.
In contrast to Frank's self-assuredness inTaxi zum Klo, Phillipp (Matthias Freihof), the central character ofComing Out, suppresses his sexual identity, settling for a relationship with his colleague, Tanja (Dagmar Manzel). This distraction proves unsuccessful, as Phillip is drawn into the local gay scene, where he meets and falls in love with young Matthias (Dirk Kummer). A pivotal moment occurs when the doomed trio unexpectedly encounter one another during the interval of a concert, destroying Phillipp's relationships with them both. Phillipp turns to cruising as a means to cope with his isolation but continues to search for Matthias, facing eventual rejection.
Coming Out was produced by Deutsche Film-Aktiengesellschaft (DEFA), a state-owned film studio in East Germany. Although met with internal resistance, production was justified as the film had a social purpose. It reinforced the idea that homosexuality was not a disorder and provided recognition that homosexuals were targeted victims of the prior fascist regime. However, the immediate reception to the film is difficult to determine, as it premiered on the same night as the fall of the Berlin Wall. Overall, the state's involvement in the film results in a more restrained portrayal of queerness, in contrast to Ripploh's intimate and honest filmmaking.
An interesting comparison can be drawn from the differing ways in which Frank and Phillipp navigate their sexuality. In Taxi zum Klo, Frank's drive for sex can be interpreted as an assertive expression of his sexuality. While this portrayal risks reinforcing stereotypes that gay men only care about sex, Frank's exploration of desire is candid. His queerness is primarily depicted in a positive light, even when the film acknowledges the societal marginalisation of gay people. However, Frank's behaviour escalates, most notably when he escapes the hospital in search of a quick sexual encounter. His practises become addictive and contentious as he further pushes aside his relationship with Bernd.
Contrastingly, Phillipp's queerness is reserved and conventionalised. Following the collapse of his relationships with Matthias and Tanja, Phillipp seeks gratification through masturbation before resorting to cruising. His exploration is not framed as an expression of sexual liberation but as an act of desperation in reaction to his inner conflict. He gains little solace from these distractions and appears uncomfortable and unfulfilled. This negative view of gay sexual freedom reflects the limitations of East Germany's tolerance of homosexuality, which was only acceptable as long as it didn't threaten the stability and supremacy of the nuclear family.
Overall, Taxi zum Klo and Coming Out both engage with the complexities of queer identity in distinct ways. Numerous further comparisons could be drawn, and the potential for a deeper engagement with their geo-political context, that I did not have time to explore in this article. Despite clear parallels, both films have secured their places as distinctive contributions to the canon of queer cinema.
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