When we first meet FAGGOT, he is pleasuring himself on Eastwood’s shoe. Who was the dog who played him? Since the little rascal was uncredited, we will never know. Did the little fellow realize that the audience probably hated him as much as they hated his master. Was it nature or nurture? Where was animal protection in those dark days of 1975?
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Unfortunately, the rest of the movie is so awful that the good work of Alexis Smith and Brenda Vaccaro barely registers. Worse, that essential camp factor, which had allowed its predecessor “Valley of the Dolls” to flourish at a thousand Gay Midnight Screenings is nowhere to be found. Eventually, your watch becomes your constant companion as you wait (and wait!) for the best moment to bolt for the exit.
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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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In “Barry Lyndon” there is a moment where Ryan O’Neal finds two soldiers naked and holding hands in a pond as they confess their love for one another.
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“In Celebration” is another filmed stage play that makes no attempts to hide its origin. James Bolam’s queer Colin remains largely a sounding board for Alan Bates’ barbed wit and, as a Queer Film, it’s negligible.
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One of those rare instances where the remake is marginally better than the original, Farewell My Lovely not only keeps the original title of Raymond Chandler’s novel but is also more faithful to the book’s spirit.
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Pacino is magnificent. With Michael Corleone in The Godfather movies, “Dog Day Afternoon” is his defining role.
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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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After its release, the film’s high campness – a tragic story set in the faded milieu of New York high society – developed a significant gay following.
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His life becomes a kind of performance art and Hurt is phenomenal. One of the great queer performances as one of the great Queers.
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Weir, who showed, like Hitchcock, that horror can be visited upon us on the brightest and most beautiful of summer days.
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John Colicos’ DeMarigny is a loathsome excuse for a human being who harbors queer desires.
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Part mob comedy and part drag review, this exhausting adaptation of Terence McNally’s hit play wears out its welcome in the first thirty minutes
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What we do have, however, is Redd Foxx as the dad and thank God for that! The result is a laugh every other minute. Foxx does not have to work for it, he’s a natural and he basically saves the movie.
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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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Why did Billy Joe McAllister jump off the Tallahassee Bridge? The mystery behind Bobbie Gentry’s haunting song should have remained a mystery. That was its allure. That was its magic. Unfortunately, in the summer of 1976, whether we liked it or not, screenwriter Herman Raucher (“Summer of ’42”) and actor-turned-director Max Baer (formerly Jethro in “The Beverly Hillbillies”) solved the mystery! The reason we are told 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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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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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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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 still’s library. Yet it is Foster’s spirited performance, especially in the earlier scenes when she IS a dyke, that gives this awful movie its only fleeting moments of pleasure, its 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. Bad 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 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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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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