Wonderland Burlesque's Let's All Go To The Movies: Say Gay Edition, Part III - Isn't It Romantic?

Wonderland Burlesque's

Let's All Go To The Movies

Say Gay Edition, Part III

Isn't It Romantic?

Begs the question, doesn't it?

Obsession, passion, carrying a torch, loyalty, duty, betrayal, scandal, madness, murder, suicide...

Isn't it romantic?

You decide. 

We have three more in this series. So, don't fret if you feel we've overlooked something. We still may well get there. 

And now? On with the show...

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Michael

(1924)

(This is a 1924 German silent drama film based on Herman Bang's 1902 novel Mikaël, directed by Carl Theodor Dreyer (The Passion of Joan Of Arc). It tells the story (spoiler alert!) of a painter, rumored to be based on Auguste Rodin, who falls in love with one of his male models. The two enjoy a romantic time together until the arrival of a bankrupt Countess who, under the guise of having her portrait painted, has come to steal the artist's wealth. She succeeds in seducing the young model and the two begin fleecing the older man. Once the betrayal is discovered, the artist's work suffers terribly.) 

(As the artist begins work on what is to be his final piece, a large scale painting of a man who has lost everything, the model sells the portrait the painter gifted him when they first fell in love. On his deathbed, the artist yearns to see the model one last time, not knowing that all along, his constant companion, who never once said a word against the model because the companion understood how much the artist loved the model, was still very much in love with the artist. Word of the artist's impending death is sent to the model, but the Countess intercepts it and the two are never reunited.) 

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Suddenly Last Summer

(1959)

"The one they're all talking about!"

(Wealthy Katherine Hepburn stalks about in the hopes of lobotomizing her emotionally disturbed niece, poor Liz Taylor, who witnessed the death of Hepburn's son, Sebastian, while vacationing in Spain. Dangling the promise of a new wing for the local psychiatric hospital, Hepburn wants the facility to perform the procedure on her niece before the sordid truth regarding Sebastian's death comes to light. A doctor, Monty Clift, is sent to appraise the girl's condition, quickly coming to the conclusion that all is not as it seems.)

"These are powers and passions without precedent in motion pictures!"

(Based on the one-act play by Tennessee Williams with a screenplay by Gore Vidal, the film somehow skirted the censors. The National Legion of Decency and the Production Code Administration gave the filmmakers special dispensation to depict Sebastian Venable as a homosexual, declaring "Since the film illustrates the horrors of such a lifestyle, it can be considered moral in theme even though it deals with sexual perversion." Note: the character's face is never seen in the released film. Nonetheless, Malcolm Arnold, who had been retained to create the film's musical score, walked off the picture midway because he found certain aspects of the plot so disturbing.)

"Suddenly last summer Cath knew she was being used for something evil!"

(Clift, who had become heavily dependent on drugs and alcohol following a 1956 car accident, was brought on board, at Taylor's insistence, despite the fact that the actor was uninsurable. He had great difficulty filming the long scenes demanded in the screenplay and his shaky appearance had director Joseph Mankiewicz demanding that Clift be replaced. However, the cast and film crew were sympathetic and remained loyal to Clift. Hepburn, in particular, was so incensed by Mankiewicz's poor treatment of the actor, that, upon filming her final scene, she walked up to the director and spit in his face!)

 

(Both Williams and Vidal would later denounce the film, particularly unhappy with an ending neither wrote. The ending was changed at the insistence of director, Mankiewicz. Still... the film was a hit at the box office.)

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Funeral Parade of Roses

(1969)

(Based on the classic, Oedipus Rex and set in the underground gay culture of 1960's Tokyo, the film centers around the plight of a young transgender person named Eddie, played by an actor billed only as 'Peter.' Stabbings, a brawl, betrayal, illicit love, a power struggle and suicide bring plenty of drama to a story about which we all know the ending, yet never see coming.)

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Nighthawks

(1978)

"A work of great candor and moral courage. - New York Magazine"

"Britian's first committed gay feature film." 

(It's arguably not... the first. That honor actually goes to 1961's Victim, starring Dirk Bogarde, which was the UK's only entry to The Venice Film Festival that year, prompting one critic to say, "at last the British have stopped being hypocrites.")

(As for Nighthawks, it realistically captures the day-to-day adventures of a gay man in London. Teaching geography during the day, while spending his evenings in gay pubs, his students eventually confront him about his lifestyle and he answers their questions truthfully and calmly.)

"An excellent, engrossing drama... a landmark film. - Los Angeles Times"

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Midnight Cowboy

(1969)

(This movie classic tells the touching story of the friendship between two street hustlers; one, an ailing con man, the other, a wet-behind-the-ears sex worker. The film includes a scene at a Warhol-factory-type art exhibit which features several actual Warhol Superstars. The character of Shirley is said to be based on Edie Sedgewick.) 

(Actor Michael Sarrazin was director John Schlesinger's first choice to play the role of the male prostitute, however, the actor was still under contract to Universal, who refused to release him to do the movie. Harrison Ford auditioned for the part before it went to Voight, who agreed to do the movie for scale.) 

(The MPA told Universal it would have to accept an X rating, due to the film's "homosexual frame of reference" and its "possible influence upon youngsters." In 1971, when the film was reissued, the film was reduced to an R rating.)

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Advise & Consent

(1962)

(Things go awry during senate confirmations for an ailing second-term president's nominee for Secretary of State. When a subcommittee chairman's past comes back to haunt him, backdoor deal making - no pun intended - and tragedy abound. Maverick director, Otto Preminger pushed censorship boundaries with the film's depiction of a married senator (from Utah!) who is blackmailed over a wartime homosexual love affair. It was also the first mainstream American film post WWII to show a gay bar.)

(Preminger offered the role of a senator to Martin Luther King, Jr. who considered it, but turned it down for fear that it would interfere with or harm the civil rights movement. Richard Nixon was offered the role of vice president, but refused, citing glaring errors in the script.) 

"Otto Preminger spotlights the men and women of Washington D.C. ...on the record and off!"

(The film marked the return of Gene Tierney to the silver screen after leaving the industry to deal with her bi-polar disorder. She was one of Preminger's favorite leading ladies and the pair worked together on four films, including the classic Laura. Tierney had a torrid affair with John F. Kennedy, but it ended when Kennedy told her he could never consider marrying her because of his political ambitions. Kennedy's brother in-law, Peter Crawford plays a character based on JFK in the film, which also marks the big screen debut of Betty White.) 

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My Beautiful Laundrette

(1985)

(A gay love story unfolding in London during the Thatcher years, My Beautiful Laundrette captures the complex/comical social interactions among members of the Pakistani and English communities. The role of 'Johnny The Punk' was originally offered to Gary Oldman, who turned it down citing issues with the dialogue and the script. Hanif Kureishi's screenplay was later nominated for an Academy Award for Best Original Screenplay.)

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Querelle

(1982)

"Rainer Werner Fassbinder's last and most controversial film. It was created by a man who thrived on controversy. It will take you into a surreal world of passion an sexuality. It's a film that goes further than most would dare to go. This is Quarelle. This is Fassbinder's final statement.

"Based on the novel by Jean Genet."

(Charismatic Brad Davis stars as the titular Querelle, a sexually ambitious sailor well acquainted with all sorts of illicit and illegal dealings, including murder. In his quest to become a brothel Madame's lover, he purposely loses a dice game resulting in him bottoming for the Madame's husband. The three become one and Querelle even has sex with the local police captain for kicks. All the boys love Querelle. In addition to his commanding officer back on his ship, a handsome fugitive from justice who happens to look like Querelle's brother falls for and is ultimately betrayed by the randy sailor.) 

(Actress Jeanne Moreau sings two songs created for the film, including the aptly titled Each Man Kills the Things He Loves.)

(The film was released shortly after Fassbinder's sudden death in June of 1982. Genet is on record as having never seen the film, because... "You can't smoke at the movies.")

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Maurice

(1987)

"From the creators of Room From A View."

(A classic story of gay love set in the restrictive, repressive culture of Edwardian England, a country which "has always been disinclined to accept human nature." This beautifully filmed Merchant Ivory film sets the bar high, featuring stellar performances from the likes of Hugh Grant, Denholm Elliott, Ben Kingsley and Rupert Graves.)

(Author E.M. Forester never sought to publish Maurice during his lifetime, considering it a minor work and simply not worth the scandal. It was only published after his death, in 1971. The author left the rights to his novels to King's College, Cambridge, who were initially reluctant to allow a film of the novel to be made. However, the producers were quite persuasive and the board members quite impressed with A Room With A View, so they eventually relented.)

(Julian Sands was originally cast in the title role, but, after having second thoughts, left the production. Hugh Grant was hired on the spot, after being sent 'round for an audition. John Malkovich, a friend of Julian Sands, was originally set to play the role later filled by Ben Kingsley. Malkovich walked away from the film upon learning that Sands had left the production.)

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Sunday, Bloody Sunday

(1971)

(This film, about an open love triangle between a Jewish doctor, a divorced recruitment counselor and a young artist, took five years to develop, write, cast and produce. In the end, the relationship between original screenwriter, Penelope Gilliatt and director Schlesinger had grown so strained that another writer, David Sherwin, was brought in to do an extensive, uncredited rewrite. Then there was the matter of casting...)

(Vanessa Redgrave and Paul Scofield were Schlesinger's original choices for the leads. Finch was his second choice, but unavailable due to prior film commitments. Alan Bates was cast, but had to drop out when a film he was working on ran over schedule. Ian Bannen accepted the role, but grew so concerned over what kissing a man on screen would do to his career that he couldn't concentrate on the role. By that point, Finch had become available and accepted the role.)

(Jean Simmons was under consideration until Schlesinger saw Women In Love and decided Glenda Jackson was right for the part. Dame Edith Evans and Thora Birch both turned down the role of Jackson's mother because they thought the story too risqué. On the other hand, Dame Peggy Ashcroft, upon learning what the film was about, was only too happy to accept.)

("The film garnered significant praise for its positive depiction of homosexuality, marking a considerable departure from Schlesinger's previous film Midnight Cowboy (1969), which portrayed gay men as alienated and self-loathing beings." - wikipedia)

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And that's all for now.

Tune in next week...

Same time, same channel!

Message To Michael - Dionne Warwick