Bette Midler made a spectacular movie debut playing The Rose, a rock singer who is emotionally unraveling during what she insists is her final concert tour. The film is based on the life of bisexual singer Janis Joplin and is a must-see for fans of the Divine Miss M.
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What may have seemed like a scream fifty years ago now seems jaded, with just the occasional laugh. Still, it’s way better than the labored US remake.
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Even though none of the principal characters is explicitly identified as gay, director Milos Forman’s Hair has a surprisingly strong queer subtext. The most important element is the relationship between Berger (Treat Williams) and Claude (John Savage). Berger immediately becomes fascinated with Claude, draws him into his world, changes his appearance and social identity, and ultimately makes an extraordinary sacrifice for him.
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I do have fond memories this movie. It was my first deeply queer film and my first glimpse a gay relationship, albeit with an age disparity. It mattered to me. It’s beautifully acted and photographed (Romano Albani) and well worth seeing.
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However, from a queer perspective, the standout, among all the gifts Woody gives us in this movie, is Meryl Streep’s blistering, low-key, no-nonsense turn as Isaac’s (Allen’s) second ex-wife, Jill. When they married, she was bisexual. When they broke-up she was a confirmed lesbian. She left him for another woman, and now she is writing a tell-all memoir about their marriage.
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