|
Alphabetic Index
|
Ratings Index
|
Web Resources
|
Alphabetic Index
|
Ratings Index
|
Web Resources
In roughly chronological order, the various ways in which homosexuals and lesbians have been written into screenplays is illustrated with reams of film clips and preceptive sound-bites. Way back in 1895, Edison put together a short experimental film where two men danced to the music of a gramophone. In these early years gay characters tended to be shown as sissies, objects of humour. Stranded between men and women these characters were almost asexual and hence acceptable. However, audiences became inured to the increasingly raunchy output of the studios. As each new film seeked to outdo its predecessors, with writhing, orgiastic mounds of human flesh, a backlash was obviously coming. At first the Hays code was introduced, prohibiting anything that could cause offence to anyone, then came the infamous Production Code. Under such pressure gay characters went underground, hiding themselves with codes and special looks. The long night had begun.
Liberally mixed with interviews (celebrities commenting on films which were contemporary to their youth), an essential and interesting perspective is gained on the fascinating celluloid snippets. A somewhat sad thread that runs through many of the personal tales is how gays searched desperately for role models on film, sitting through many an abysmal picture just for a few key lines or a particular outfit. Even then the characters presented were weak, twisted misfits who deserved nothing better than a quick death - an appalling situation. With the 60s and 70s films were at last made with gay characters who approached normality although, as is often the case, foreign and low-budget movies were the first to set the trend. As usual, Hollywood only followed when it could be sure of making money.
Perhaps some of the best aspects of The Celluloid Closet are where new insights flip your viewpoint of a film upside-down. Take Charlton Heston and Ben-Hur; Stephen Boyd, playing Messala, was let into the secret that their characters were childhood lovers and how Ben Hur wanted to reactivate their relationship, while strait-laced Heston was kept in the dark. The spin that is put on their scenes together, by Boyd, is magical. However, it's not as if everything today is perfect. Modern movies are still churning out the age-old stereotypes and prejudices, despite the success of movies like Philadelphia. Maybe, as filmmaker Jan Oxenberg observes, they'll make a story with a gay hero who lives, one day. If there is a criticism which can be levelled at The Celluloid Closet, it's the unforgivable lack of foreign pictures and the contrasts which these could bring to the discussion. Apart from this point, it's a great documentary which, without polemic, will appeal to film buffs both gay and straight.
|
Alphabetic Index
|
Ratings Index
|
Web Resources