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 Oscar 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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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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However, from a queer persecutive, the standout, among all of the gifts that Woody gives us in this movie, is Meryl Streep’s blistering low-key, no nonsense turn as Isaac’s (Allen) second ex-wife Jill. When they married she was bisexual. When they broke-up she was a confirmed lesbian.
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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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The Kirk Douglas/Stanley Kubrick epic has not aged well but the supporting cast,, particularly Laurence Olivier and Peter Ustinov, make it worth seeing.
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Anthony Perkins’ Norman Bates made him immortal while, at the same, time, ending his career in Hollywood. A masterpiece.
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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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Although he was playing a teenager, gay actor Murray Melvin was almost thirty when he made “A Taste of Honey” with Rita Tushingham.
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Not having the courage of his convictions, what started out as bravery ended in cowardice and it’s a shame.
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Lawrence’s intense relationships with men, particularly Sherif Ali (Omar Sheriff), are emotionally charged. The characters’ gazes linger on each other in numerous scenes, creating a sense of tension and intimacy.
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Preminger always liked to be cutting edge and he was with “Advise and Consent” a beautifully written, acted and directed movie.
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Both of Hollywood’s grande dames Bette Davis and Joan Crawford are in top form with Davis getting the showier role as faded child star Baby Jane Hudson.
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In between the Rock Hudson movies “Lover Come Back” (1961) and “Send Me no Flowers” (1964), Doris Day paired up with Cary Grant.
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Many, including gay composer Benjamin Britton and his famous opera, maintain that there is an undercurrent of homoeroticism between the three leads.
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Stanwyck and Capucine have a few good scenes together. However, Harvey is wan, and Fonda does not have enough to do. The movie is no fun.
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As a chic Greenwich village lesbian named Theo, whose couture is designed by Mary Quant, Claire Bloom is a knockout in Robert Wise’s 1963 movie “The Haunting”.
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A savage indictment of the waning British class system, it’s one of the most chilling films ever made. Winner of Best Screenplay of 1964 from the NYFCC.
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A peak entry in the American political thriller genre, the film boasts four of the greatest performances of the sixties.
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“The Best Man” boasts three outstanding performances: Henry Fonda, Cliff Robertson and pre-code star Lee Tracy who returns to the screen.
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The couple are phonetics professor Henry Higgins and Colonel Hugh Pickering. The two actors are perfect together, practically finishing one another’s sentences
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Robert Redford insisted that his character in the novel be changed from homosexual to bisexual. It was a brave role to take at the time, but it got him noticed.
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An actor of unusual sensitivity, James Fox is an easy actor to queer-code, and he is mentioned twice in this essay and once in the next. No matter, his scenes with Segal have a beauty about them, a longing that every gay man can recognize.
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Great fun was had by all adapting Evelyn Waugh’s 1948 short satirical novel about the funeral business in Los Angeles.
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Rod Steiger is exceptional in what is, arguably, his greatest performance. He received the first of his two Best Actor Oscar nominations for this movie but lost out to Lee Marvin in Cat Ballou. He won two years later for In the Heat of the Night (1967).
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Two of the world’s greatest actresses under the gaze of one of the greatest movie directors the world has ever known.
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Sidney Lumet’s movie is like a microcosm of his career – he bites off more than he can chew. The dreadfully wooded Candice Bergen as lesbian Lakey.
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A movie to be seen AT A MIDNIGHT SCREENING WITH A GAY CROWD, – a GROUP experience. Do not see this movie on your own.
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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
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Marlon Brando does something unique with his closeted gay character, it’s one of his truly great performances right up there with his Stanley Kowalski. Elizabeth Taylor gives one of her best, most relaxed performances in years. She was just beginning to pile on the weight at this time in her life and she uses her body fearlessly, like a weapon.
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