Category: YouTube

The Gay Deceivers (1969) Queer Film D+

Directed by race-car driver, TV director, adventurer and Howard Hawks protegee Bruce Kessler, the film sits squarely in the late-1960s draft-dodger queer farce, and his involvement appears to have been technical and opportunistic rather than personal. This was producer Joe Solomon’s baby in keeping with his other entries in the exploitation genre such as A Small Town in Texas (1976). The surprise, however, is that the gay couple is treated with a modicum of respect.

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Performance (1970) Queer Film B+

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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Sunday Bloody Sunday (1971) Queer Film (A)

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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Cabaret (1972) Queer Film A+

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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Thunderbolt and Lightfoot (1974) Queer Film B+

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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