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.
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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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Beatty’s work is astonishingly brave for a debut role. He plays the aftermath—shame, anger, and the need to reassert dignity—with a precision that keeps the film from slipping into caricature
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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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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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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, next thing they are pounding one another. Very sexy.
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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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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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Once is Not Enough benefits from strong performances by Smith, in her first appearance on screen in sixteen years and by Brenda Vaccaro as a high-powered magazine editor – Vaccaro received an Oscar nomination for her performance.
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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. However, the performers are so engaging that you stay with them. All of the actors have their moments, with Alan Bates making the most significant impression.
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One of those rare cases where the remake is marginally better than the original, Farewell My Lovely not only keeps the original title of the Raymond Chandler novel, it also more faithful to its 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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