The story unfolds, in real time, almost entirely within the confines of Sardi’s bar in New York, where Hart spends the evening grappling with his fading relevance, alcoholism, homosexuality and mental health struggles.
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Director Michael Pearce moves with visceral precision and Julianne Moore shows us, yet again, what a magnificent actress she can be.
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Leaving out vast chunks of the great conductor’s life, Cooper gives a vain impersonation of a vain man while Carey Mulligan takes the acting honors.
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Doug Stanhope is “The Road Dog” of the title in writer/director Greg Glienna’s inspired blend of the road movie and stand-up comedy.
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Min, playing a dislikeable character, manages to make Ben, if not exactly likable, then certainly sympathetic. Both Sherry Cola and Debby Ryan are superb.
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Aamu Milonoff is exceptionally good, giving a beautifully grounded yet magical performance. The kind that makes you sit up and take notice.
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Bridget Fonda does a fabulous Lesley Gore (thinly disguised) in Alison Anders’ 1996 movie “Grace of My Heart”
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The finest achievement of producer Val Lewton’s legendary RKO horror cycle, Cat People (1942) occupies a foundational place in queer film history because it mobilizes horror not as spectacle but as a grammar of deviance, repression, and embodied otherness.
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Powell is in excellent company, and he acquits himself admirably. He also gets props for being the first to play Marlowe.
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“Brute Force”: Our homosexual is interested in art and music. Hume Cronyn, a consummate actor, plays him to the hilt.
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Lauren Bacall is Kirk Douglas’ young man with a horn’s society wife who is also a closeted lesbian. Bacall is very good in a risque role.
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It’s Howard Hawks again, this time adapting the Jule Stein/Leo Robin Broadway smash “Gentlemen Prefer Blondes”. With Jane Russell and Marilyn Monroe.
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Unlike their American counterparts, French critics, including Godard and Truffaut, adored Jean Seberg in “Bonjour Tristesse.”
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Richard Brooks’ respectable adaptation of “Cat on a Hot Tin Roof” opens with Paul Newman mourning the suicide of his best friend (read Lover), Skipper.
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Although it lacks the emotional depth and the great supporting cast of Minghella’s film, this version has a unique style thanks to director Rene Clement.
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They say that this film did more to sway public and political opinion on homosexuality in England than any parliamentary discussion.
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“Darling” stars the impossibly beautiful Julie Christie, even if far more people saw in her as Laura in David Lean’s “Doctor Zhivago”.
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“My Hustler” is a hugely different film from Warhol’s previous offerings with a solid narrative and surprisingly good performances.
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Not nearly as shocking today as it was in 1967, The Producers remains wildly entertaining. A huge part of its staying power comes from Roger De Bris and his exquisitely mannered assistant Carmen Ghia, played by the great Christopher Hewett and Andreas Voutsinas, respectively.
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“The Fox” does interesting things with color saturation (Bill Fraker is the cinematographer), and the haunting Lalo Schifrin score has entered the jazz canon. Bypassing the Hays Office, the film was released independently in the United States, without a Code seal of approval.
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There will always be an argument as to who was the real auteur behind the camera. Roeg, one of the great cinematographers (The Masque of the Red Death, Petulia) who evolved into one of the great directors (Walkabout, Don’t Look Now), is the obvious candidate. Yet Donald Cammell—painter, provocateur, and Hollywood outsider—was the film’s conceptual engine.
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Curtis Harrington’s What’s the Matter with Helen? stands as one of the most refined entries in the psycho‑biddy—or hagsploitation—cycle, anchored by two powerhouse performances from Shelley Winters and Debbie Reynolds.
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Michael Cimino’s directorial debut – he also wrote the screenplay – was an enormous critical and commercial success and paved the way for his Oscar-winning triumph The Deer Hunter four years later. Blending humor, melancholy, and violence with a nod to the American road movie, the film boasts great buddy-film chemistry between Eastwood and Bridges.
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Sexuality throughout the film seems less important than transformation, performance and desire. It’s The Red Shoes reimagined for the Me Decade.
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A fascinating look at gay life in the seventies, it’s one of a dozen great movies Fassbinder wrote and directed in the decade before his untimely death.
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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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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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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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