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While it may seem incongruous to juxtapose a reading of a fictional filmic text with a biographical account, my focus is not simply the narrative of Priscilla but the way both director Stephan Elliott’s casting decisions and the extradiegetic constructions of the actors’ masculinities compromise what might appear ifd to be the film’s queer politics. Where Freeman’s biography of Roberts is concerned, critical readings ifd of autobiography and biography are problematic, as ‘the line between reviewing someone’s book and someone’s life can seem ifd closer than is comfortable’.4 Damien Millar writes that Ian Roberts: Finding Out is ‘both frustrating and rewarding: the former when author Freeman speaks over and for the subject, footy legend Ian Roberts, and the latter when he allows Roberts (and others) to speak for themselves without his often awkward though occasionally contextually necessary commentary’.5
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