You come to “Car Wash” for Antonio Vargas’ Lindy, who delivers razor-sharp shade to his homophobic coworker Duane (Bill Duke). You stay because a day at the Dee-Luxe Car Wash in Los Angeles is, despite the slurs, occasionally fun.
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Lenny Baker delivers a marvelous, lived‑in performance, radiating zest for life. Tragically, Baker’s career was cut short; he died of thyroid cancer at just 37 in 1982, never appearing in another film.
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Why did Billy Joe McAllister jump off the Tallahassee Bridge? The answer, according to director Max Baer, is because he slept with a man.
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Brian De Palma’s masterpiece and one of the GREAT HORROR MOVIES with tremendous performances from Sissy Spacek and Piper Laurie. The unforgettable score is by Pino Donaggio.
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What seemed revolutionary in 1976 seems pretty mediocre today. More a series of tableaux vivants than an actual narrative feature, it wears out its welcome.
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After two hours of heterosexual escapades—casual hookups, fleeting romances, and Theresa’s own search for identity—the story reserves its harshest judgment not for the straight milieu it has been dissecting, but for queer desire.
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Russell’s worst film, it cannot even be enjoyed as camp. The audience either walked out or slept their way through the movie.
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Blaney (Michael MacKezie Willis) is a young gay man who is cruising MacArthur Park in LA. The cops are there as well. When Blaney opens the police van’s door, he mistakenly thinks that Officer Lyles (Don Stroud) is waiting for him. Lyles, a Vietnam veteran, is in the middle of a PTSD flashback and shoots him in the face. The death of “the fag” gets a big cheer and a big laugh from the audience.
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Italian director Dario Argento’s supernatural horror sensation! Jessica Harper is a ballet student whose school is a front for a coven of lesbian witches.
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Ettore Scola’s beautiful two-hander stars one of the Silver Screen’s great romantic couples – THE KING AND QUEEN OF ITALIAN CINEMA. Their megawatt star presence and memories of their previous work together in Yesterday, Today and Tomorrow and Marriage Italian Style permeate their characters.
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How this managed to get eleven Oscar nominations only Hollywood knows. Browne and Baryshnikov cannot act and all of their scenes are painful to watch.
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Unfortunately, Elliot’s director (Paul Benedict) is a raving, mincing queen who insists that Dreyfus play the part of Shakespeare’s Richard III like Bette Midler.
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Loren Hardeman (Paul Ryan Rudd), the heir to Bethlehem Motors, is queer. Loren kills himself – it is Harold Robbins!
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That old you-can-switch-at-any-time scenario raises its ugly head. Interestingly, no photos of Foster with Curtain or King with Donat – their previous queer partners – appear in the stills library. Yet it is Foster’s spirited performance, especially in the earlier scenes when she IS a dyke, that gives this awful movie it’s only fleeting moments of pleasure, it only grounding in reality. She saves it from an F rating.
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Handled with the right tone, these scenes could have been funny, but Milius bungles it, and they end up as some of the most homophobic cinematic moments of a very homophobic decade.
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Meanwhile, Richard Prior, Bill Cosby and their onscreen partners suffer through one cringeworthy slapstick sequence after another.
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This is one of the great unsung Queer films of the 1970s. Featuring a sublimely queer turn by Robert Morley, an actor who played his share of gay roles over the years. He won the Best Supporting Actor award of 1978 from both the Los Angeles Film Critics and the National Society of Film Critics.
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The movie “Midnight Express” is primarily based on fact, but the finished product is mostly a work of fiction.
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Influenced by the films of Nicholas Ray, particularly Rebel Without a Cause, Peck uses a relaxed cinema verité style with innovative use of hand-held camera and superb use of close-ups.
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Screenplay by David Schaber and Walter Hill based on the novel of the same name by Sol Yurick, which, in turn, was based on Anabasis – the journey of the Ten Thousand from Greece to Persia in 401BCE – by Greek soldier Xenophon. Directed with great style by Walter Hill. Cinematography by Andrew Laszlo.
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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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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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Joe Gideon (superbly played by Roy Scheider, in an Oscar‑nominated role) is a Broadway director and choreographer, clearly modeled on Bob Fosse himself. Gideon is simultaneously staging a new Broadway musical (NY/LA) and editing a film (The Stand‑Up), mirroring Fosse’s real‑life juggling of Chicago and Lenny.
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