Things are ominous in Manfred Oldenburg’s documentary The Last Taboo (Das letzte Tabu), which explores the lives of gay football (soccer) players. Assembling most of the currently publicly-identifying gay players, along with sports commentators, psychologists, and campaigners, Oldenburg takes us through the tragic history of out players and the current state of the game.
Despite some higher-profile players, such as the US’s Collin Martin and Czech Jakub Jankto, being open about their sexuality, it is clear that football still has a problem. Of the hundreds of thousands of current and former professional players worldwide, only a handful have ever come out publicly. The number is so low that it is statistically impossible for there not to be more queer players living closeted for the sake of their careers.
The spectre of Justin Fashanu’s brave but ultimately tragic life looms large over the sport. The first professional player to come out in 1990, the Hackney-born Fashanu was subjected to homophobia from coaches and fans, and became estranged from his own brother. He took his own life in 1998 after being accused of sexual assault. His suicide note stated that the encounter was consensual but that he feared he would not receive a fair trial as a gay man. It would be almost 30 years before another professional player came out publicly.
The stories of the gay players in the film highlight the tight brotherhood of team sports and the corrosive effect of keeping one’s sexuality secret as well as the detrimental impact on mental health. There is also a clear cognitive dissonance between the homophobic banter and stadium chants, and the real attitudes of the players and fans toward gay players once they have come out. Fans have proven to be more progressive than team management, with many embracing the philosophy that “football is for everyone.”
Oldenburg mines the subject for drama and the graphic design and score feel more suited to a spy thriller at times rather than a sports documentary. However, the story becomes oddly sterile, as examples of harsh abuse and pain are avoided. All the contributors love the sport and go to great lengths not to cast blame on football itself. Despite some criticism of FIFA, there is little discussion of the sport’s systemic issues.
Like the entertainment industry, it is clear that for most players, the competitive environment and the allure of a massive paycheck over the course of their careers lead them to great lengths to avoid rocking the boat, to their own personal detriment. But The Last Taboo remains cautiously optimistic about football’s future as a more open sport, and there is good reason to believe that each successive generation of players will feel more confident being judged on their skills on the field, rather than their sexual orientation.
By Chad Armstrong.
The Last Taboo receives its Australian Premiere at Queer Screen’s 32nd Mardi Gras Film Festival in Sydney on Saturday, February 15th at 4pm. Head to queerscreen.org.au for tickets and more information.
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