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‘100 Years of Men in Love’ Reminds Us that Queer Love Has Always Existed. During a time when loving the same gender was illegal, and possibly deadly, queer couples still found a way to show the world who they were and what they meant to each other. The new documentary from Emmy-winning actor and producer David Millbern, 100 Years of Men in Love: The Accidental Collection showcases intimate vintage photos of gay men who had the courage to celebrate their love and authenticity, long before LGBTQ rights or marriage equality was even thought of.
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Based on the book Loving: A Photographic History of Men in Love, 1850s-1950s by New York curators Hugh Nini and Neal Treadwell, who are both featured in the film, they have spent the last 20 years scouting antique stores, estate sales, and flea markets for these rare photos that would have been lost to history if it were not for their efforts. What started as a small hobby eventually grew into the largest collection in the world, which currently holds more than 3,000 photographs. Unique and incredibly moving, 100 Years of Men in Love showcases the beauty of everlasting and universal love. The film is currently streaming on Here TV, and OFM caught up with Millbern to talk more about it. Can you begin by telling us how the idea for 100 Years of Men in Love came about and what inspired you to create this film? Growing up in Indiana, you know how families usually have boxes and boxes of photos? I found this old-fashioned tintype that had two young, handsome men sitting next to each other shoulder to shoulder with their hands and legs crossed into each other. It always held such a fascination for me. I would ask mom and dad,”Who are these people?” They’d be like, “Oh, that’s your great, great, great uncle,” blah, blah, blah. They were holding up this little sign in this tintype that said Bourbon Indiana Fair, 1908. Speed ahead, my parents passed on, and I inherited all the family photos, but I still had such wonderment about this particular photo. Then I came across Hugh and Neal’s collection, and I thought, “Hmm, maybe these are my ancestors.” My dad was born in Bourbon, Indiana in 1926. That sent me on the journey to contact Neal and Hugh, saying, “I feel like your collection could make an amazing documentary.” Sure enough, they said, “Let’s go for it.” With their blessing, they gave me 3,700 photos to look through and compile into what I think is a very hard hitting, impactful, and joyful collection of love and companionship. David Millbern. I’m so happy to hear that Neal and Hugh were onboard from the beginning. Absolutely. They trusted me with my vision, and the reviews have been stellar. I couldn’t be happier. It was a passion project for Neal and Hugh, and then it became my passion project. The film is currently streaming on Here TV, and there was a Los Angeles premiere screening in March. How did that go? The premiere was amazing. It benefited the Los Angeles LGBT Center, so Here TV bought out the entire audience, sold tickets, and gave the money to the center as a donation. It was also great to sit in a theater and see it with 200 people—to experience the film as a journey—and it’s an art piece as well, because I very much purposefully lingered on the photos. It’s not just a quick montage. We let the audience study the photos and the significance of the times where these gentlemen put everything on the line to take those pictures. They were doing this when it was not cool, (it was) illegal, and they could have lost their jobs. It’s also a history of photography because we start with the tintype, but then we go to umbrellas. There’s a whole section. When you think about men standing next to each other under an umbrella and holding it, it shields them from any onlookers deciding what could be happening or whatever. The umbrella was kind of like the rainbow flag, and you’ll see that. Then the photo booths in the 40s. The curtain was closed, there was no developer, nobody could see the shots, so these men could be as intimate as they wanted in those photo booths. At the premiere, I sensed and felt the entire audience going on that journey—sitting, watching, contemplating, and fantasizing what their lives must have been like. What kind of effect do you hope the film is having on younger audiences? I want this film to let our young people, as well as those of us who aren’t so young anymore, realize that we were always here. There have always been people carrying the torch saying, “Our love matters.” I felt such a responsibility when I looked at these couples who never had the freedom that we have, who never got to openly express their love. I felt such an honor and responsibility to bring these photos and this love to light. These guys didn’t have that opportunity. They’re all passed on now, but through this film, their love and commitment shine through. Hugh Nini and Neal Treadwell. Is there a certain photo or story that stood out to you the most? We go into the stories of some particular photos, and we talk about body parts touching. There’s a photo of two gentlemen—I think it’s in the early 1900s, where they’re on the back of a train car. They’re kind of leaning in towards each other, but at first glance, nothing’s touching. If you look down on the railing, their pinkies are touching. That little gesture so they can be touching, and we go through many scenarios in the film where we see feet on top of feet, thighs touching, legs touching. It’s a wonderful exploration of observation. Why do you feel it is important to highlight the history of same-gender and interracial couples’ relationships? Kind of going back to what I previously said, I feel that we need to realize that we’ve always been here. The fact that we’re able to openly love, have commitment, and have marriage equality, that’s today. We need to look back and celebrate those who didn’t have that. By looking back, we can also be more free, open, and celebrate our lives today.
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