Using humor and irony to critique prejudice, injustice and the destruction of Native American communities, “Little Big Man” is, together with “Bonnie and Clyde”, Arthur Penn’s best film. It helped redefine the Western genre, paving the way for more nuanced depictions of Native Americans.
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“The Boys in the Band” was a cultural milestone. As the AIDS epidemic approached, the lives of the actors involved was a collective tragedy.
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Excellent work by Robert Stephens (his best screen performance) and Colin Blakely (Dr. Watson). Geneviève Page gives a gorgeous melancholy performance.
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Using Art Deco as a backdrop to the film’s narrative, the partnership of Bertolucci, Storaro and Scarfiotti changed the look of Cinema forever.
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Hamming it up and mincing all over the place, this is a cringe-worthy performance from Martin Balsam who is not referred to by his given name, just The Fag.
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The honeymoon sequence, set to the “1812 overture,” a delirious mix of sexual frustration and nationalistic bombast, may be for Russell freaks only!
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Visconti’s best idea was changing Aschenbach’s profession from a writer to a composer opening up the movie to the Mahler Adagietto .
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“The Garden of the Finzi Continis” is based on the semi-autobiographical novel by gay Italian writer Giorgio Bassani who is played in the film by Helmut Berger.
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In “Sunday Bloody Sunday”, Murray Head plays a free-spirited bisexual who is having simultaneous relationships with Glenda Jackson and Peter Finch. Finch’s closing monologue, delivered directly to the camera—“I am happy, apart from missing him”—is one of the great grace notes in queer film history: tender, dignified, and devastating in its simplicity. It is also one of the finest pieces of acting ever captured on film.
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Although not explicitly gay, the film is filled with camp theatrical energy, exaggerated male dancers, coded glances and mannerisms, a backstage world where gender roles blur, and gay actor Max Adrian as Lord Brockhurst, the wealthy, eccentric aristocrat who attends the film’s show-within-a-show, bringing his trademark queer-coded presence. The Boyfriend is unmistakably queer in tone, style, and sensibility, putting it very much in line with Russell’s other 1970s work.
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In Diamonds Are Forever (1971), Mr. Wint and Mr. Kidd are the chief pleasures in a film that ranks among the most disposable entries in the Bond canon.
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Cabaret emerges from a remarkable artistic lineage: the 1966 Broadway musical by Kander and Ebb, itself drawn from Christopher Isherwood’s semi‑autobiographical Berlin Stories (1945) and John Van Druten’s 1951 play I Am a Camera. Under Bob Fosse’s revolutionary direction and choreography—and with Minnelli’s incandescent performance—the film stands as one of the defining achievements of the New Hollywood era.
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Beatty’s work is astonishingly brave for a debut role. He plays the aftermath of his sexual assault—shame, anger, and the need to reassert dignity—with a precision that keeps the film from slipping into caricature
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A landmark in both New Queer Cinema and the New German Cinema, Fassbinder’s examination of the dynamics of a lesbian love triangle was shot in der wunderkind’s apartment.
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Woody is one of the competing sperm determined to penetrate that egg. Our boys have been in training for weeks. But wait! What if it’s homosexual encounter? There’s also a Black sperm! How did he get in the mix?
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The sexual assault is shocking. No movie has done more to conflate gay identity with pathology and violence than “Scarecrow”.
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The writer Steve Shagen, an educated Jew, is in the Stone Age when it comes to a human being who has a different sexual preference than himself.
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Jackson’s character works in the garment industry, so we are on fairy alert. And, wouldn’t you know it, one of them does descend on her office just as Segal is visiting.
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Another example of a gay character whose sole purpose in the movie is to be killed. Still, Zinnemmann and Rodgers treat his character with a modicum of respect.
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The actors are in good form, with Raquel Welsh being particularly impressive in her one genuinely good film. Dyan Cannon is a thinly disguised Sue Mengers.
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Our heroes, James Caan and Alan Arkin, first encounter Morley in a bathtub. He’s preening and lisping, and you can see that he disgusts them.
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Waters’ favorite of all of his movies, with the incomparable Divine embracing ugliness, violence and spectacle in a bravura performance.
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Adapted by Simon Gray from his stage play and directed by Harold Pinter, the movie is a testament to Alan Bates, who, having originated the role on stage, delivers a tour-de-force performance, simultaneously witty, pathetic, and tragic.
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Directed by Jack Clayton, from an adaptation by Francis Ford Coppola, this was the third film version of F. Scott Fitzgerald’s Jazz Age masterpiece.
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The second scene is where the boys are horsing around and, wouldn’t you know it, they almost start pounding one another. Very sexy.
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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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When we first meet FAGGOT, he is pleasuring himself on Eastwood’s shoe. Who was the dog who played him? Was it nature or nurture?
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Polanski captured the FEEL of LA better than anyone before or sense. Jack Nicholson gives his greatest performance as private dick J. J. ” Jake” Gittes.
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An impressive performance by Brenda Vaccaro as a high-powered magazine editor – she received an Oscar nomination. Ironically, because the movie has a tiny modicum of taste, it has never developed the Midnight cult following that made the infinitely more dreadful Valley of the Dolls immortal.
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It is, of course, a GROUP EXPERIENCE with those inspired zingers going back to the screen, composed by a generation of audience members over the years.
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