The Naked Civil Servant

Plot

England, the late 1920s. Teenaged Quentin Crisp lives with his grumpy middle-class father and adoring mother, and is slowly working out that he is not attracted to women, that he is, in his own word, "different." The film's first move is to show that difference as performance before it is ever spoken: young Quentin in his mother's fancy clothes, waltzing alone before a mirror. That image will come back at the worst moment of his life.

Quentin grows up, moves to London, and makes his choices early. He will not take a respectable job and a concealed life; instead he works as an artist's model, posing nude in art schools, which gives the film its title, and he lives in a single bedsit he famously refuses to clean. He dyes his hair, wears makeup, and walks through Soho in broad daylight. The world answers. Employers dismiss him, acquaintances drift away, and strangers on the street treat his existence as an invitation. Crisp narrates his own life in aphorisms, turning each humiliation into material, and the film follows him through the 1930s and 1940s as a series of collisions between his fixed personality and a society determined to punish it.

When the Second World War comes, every other young man marches; Quentin reports for his army medical examination and, with startling candor about his sexuality, bamboozles the psychiatrist into declaring him exempt from military service on the grounds of "sexual perversion." It is a loophole, but it is also an epitaph: while London is bombed, Crisp is the man who stayed home, and the stigma of that follows him for years.

The beating. In a rough part of London in the 1940s, Quentin flags down a taxi late at night. The driver realizes his fare is a man dressed as a woman and throws him out of the cab, back into the path of a gang of toughs who have spotted him, and they beat him mercilessly on the pavement. Left in the street, Quentin eventually gets home and examines his bruised, cut face in a mirror, and the film cuts between that ruined face and the childhood image of Quentin waltzing alone before a mirror in his mother's clothes. Over it all comes his voice, wondering aloud whether his lifelong crusade "to make them understand" has been worth the price. It is the film's darkest scene, and Hurt plays it with the eyes while the voice stays light.

The police get their turn next. Two plain-clothes officers arrest Quentin in the West End on a trumped-up charge of soliciting, treating his very presence on the street as the crime. At trial he addresses the court in his characteristic style, and the film drops its irony for the only fully straight moment in it: Quentin explains the golden rule of his life, that in public he speaks to no one who does not speak to him, looks at no one who does not demand to be looked at, because that is the only way he knows of getting safely to his destination. Character witnesses, including an actor, a ballet teacher, and an art-school friend who became a nun, speak for him, and he is acquitted. The courtroom, like everything else, has become one more stage.

Through the middle years there are lovers who pass briefly through the uncleaned room, including a three-year relationship with a man nicknamed "Barndoor" (John Rhys-Davies), and a dream sequence in Portsmouth where Quentin, in the navy on a lark, is surrounded by sailors and, for once, adored: "It was the first, last and only time," his voice intones, "that I have ever been in a crowd of people where I was the centre of attention without feeling that I was in danger." His mother ages, still unable to reconcile the son she loves with the figure he has chosen to become, and dies with the reconciliation never quite made.

The film ends in the present day of 1975. Quentin, now sixtyish with mauve hair, is accosted by teenage boys, one played by a sixteen-year-old Phil Daniels, who threaten to report him for "fiddling with us" unless he pays them a quid each. He looks at them and replies, "You can't touch me, I am one of the stately homos of England," and walks on. No victory is declared, no apology arrives from society; he has simply outlasted its disapproval by outliving its interest. The autobiography that sold 3,500 copies has, by this coda, made him a celebrity, and the film leaves him exactly where it found him: in public, in makeup, unmistakably himself.

Characters

• Quentin Crisp (John Hurt): writer, nude model, professional eccentric, and the most conspicuously visible gay man in England for forty years. Vain, passive about housework, occasionally cruel to people who love him, and utterly unbendable; Hurt plays the wit on the surface and the stubbornness underneath.
• Barndoor (John Rhys-Davies): a lover who shares three years of Quentin's life in the bedsit, one of the few who stays any length of time.
• Quentin's mother (Patricia Hodge): adoring and never reconciled, the embodiment of the family's quiet, permanent grief over what Quentin would not hide.
• The taxi driver (John Malcolm): the man who, in the film's cruelest beat, refuses Quentin even the small mercy of a ride and leaves him to the gang.

Interpretations and controversies

The film was a broadcasting risk in 1975, when homosexuality had been legal for less than a decade and no television program had centered an openly gay life like this. The Independent Broadcasting Authority feared a backlash so much that it commissioned a special audience survey the morning after transmission; 85 percent of respondents said they were not shocked, and nearly half said they understood and sympathized with Crisp's difficulties. The IBA did, however, censor one line from Philip Mackie's script, "Sexual intercourse is a poor substitute for masturbation."⁴

Crisp himself, who called John Hurt his "representative on earth," approved of the result. Later critics have debated Crisp's legacy, with some arguing he became a "queer Uncle Tom" whose camp passivity aged poorly against gay liberation politics; the Telegraph's retrospective weighs that charge and largely rejects it, crediting the film with changing attitudes for the better.²¹

Sequels, prequels, and universe

No sequels followed, but the story continued in life and in echoes. Hurt reprised Crisp in the 1990 film Resident Alien, and in 2009 he played Crisp again, as an old man in exile, in An Englishman in New York.