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 Persia to the Black Sea 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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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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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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Gay men in New York protested the making of this movie, and they were right. It boasts not a single redeeming feature. Exploitation, anyone?
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Virulently homophobic movie, it was the only outing as director by legendary cameraman Gordon Willis. He and his two leading ladies should have known better.
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Viewer beware! There is no camp here. Just Boredom. Utter boredom. I will never have this time back again.
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Actor Paul McCrane’s token gay character, Montgomery, stood out as an honest and moving portrayal of a shy, talented young man.
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Watching American Gigolo, you knew that Courtesy of Giorgio and Nando, two gay Italian men, glamor and fashion had returned to the world, not just Hollywood but the entire world.
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.Director Allan Moyle’s “Times Square” is a gritty, punk‑infused queer coming‑of‑age drama set in pre‑Disneyfied Manhattan, where the city’s chaos becomes a refuge for two teenage girls who don’t fit anywhere else.
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Thanks to Ralph D. Bode’s cinematography and Pino Donaggio’s haunting score, it is both a visual and an aural feast.
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“Nijinsky” asks the question: Why does a great artist go crazy? Ross and Wheeler, however, take a reductive approach and blame the woman.
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Beautifully realized by director Lamont Johnson, the film preserves Cather’s delicate psychological shading and queer-coded subtext. Eric Roberts’ performance is luminous—romantic, brittle, and heartbreaking. A star is born.
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Groundbreaking semi-autobiographical German film that candidly explores the dual life of a gay man in West Berlin at the dawn of the 1980s.
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A “haulout” is a place where walruses mate. Thanks to global warming, over 100,000 are packed into one tiny beach. The result is death on a horrific scale.
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A young mother (Natalie Press), who wants to rekindle an old relationship, neglects her four children for an evening.
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