"Kill the Wabbit!" 
Posted on 06/20/2007 7:25:52 AM PDT by DogByte6RER
TCM shines spotlight on movies with gay themes
Series focuses on changing views in film history
By MIKE McDANIEL
Copyright 2007 Houston Chronicle
Unless you're good at spotting innuendo or your gaydar is working overtime, images of gay and lesbians in films have been comparatively few over the years. But as author and historian Richard Barrios sees it, gay themes and characters can be traced to more films than you think.
Throughout June, Barrios and Turner Classic Movies have been spotlighting movies with gay themes. As the Monday and Wednesday night series has pointed out, before the Production Code of 1934 movies didn't refrain from containing effeminate or clearly gay characters.
Going outside the TCM library when necessary, Barrios' series has so far shown such movies as 1912's Algie the Miner, about a man who wants to become a cowboy, and 1933's Ladies They Talk About, about women behind bars.
Post-1934, references to gay characters were more implied, including 1957's Voodoo Island, which Barrios calls a "crummy drive-in horror movie with carnivorous plants" whose second lead is a 40ish interior decorator who spends a good part of the movie showing an interest in the heroine.
Not always were the gay themes and character "over the heads" of the production code and film goers.
"But a lot of time it was, and that was sort of the beauty of it," said Barrios. "These films would speak to those who would get the references. This was tailoring the message to the receptors, so the people who would get it, got it, and the people who wouldn't, wouldn't be any the more perturbed."
Next week, the series will feature The Boys in the Band. No "over the heads" material here, this 1970 film is about a gay birthday party crashed by a straight man. It's the first time the film has been shown on TCM.
"I'm just so happy we're running it," said Barrios, author of Screened Out: Playing Gay in Hollywood. "For me, this film is the gay equivalent of Birth of a Nation. It was the breakthrough film that for many years we have to look at as a mixed blessing. In one way, it really brought things out in the open unlike they had been before. But on the other hand, you do have some images and stereotypes and negativity to contend with."
Today, television has picked up the gay gauntlet, Barrios believes.
"After The Boys in the Band and one or two more movies, basically there was nothing for a while. At the very end of the '70s, we had Cruisin' — thanks a lot. But by that time, TV had That Certain Summer and Sgt. Matlovich vs. the Air Force, An Early Frost, A Question of Love and these really good and responsible TV movies that could take this on because their producers didn't have to be as fearful of the bottom line."
Barrios would like viewers to come away from his TCM series with the knowledge that "in some ways we have come a long way from these ridiculous pansy characters we see in the early '30s. But don't pat yourself on the back too much because there still is a ways to go."
Remaining films in the TCM series:
Wednesday
7 p.m. Manhattan Parade (1931) Charles Butterworth, Winnie Lightner.
8:30 p.m. Sylvia Scarlett (1936) Katharine Hepburn, Cary Grant.
10:15 p.m. Turnabout (1940) Adolphe Menjou, Carole Landis.
11:45 p.m. That Touch of Mink (1962) Cary Grant, Doris Day.
1:30 a.m. The Producers (1968) Zero Mostel, Gene Wilder, Kenneth Mars.
3 p.m. Designing Woman (1957) Gregory Peck, Lauren Bacall.
Monday
7 p.m. Tea and Sympathy (1956) Deborah Kerr, John Kerr.
9:15 p.m. Advise and Consent (1962) Henry Fonda, Charles Laughton.
11:45 p.m. The Children's Hour (1961) Audrey Hepburn, Shirley MacLaine.
1:45 a.m. Walk on the Wild Side (1962) Jane Fonda, Capucine.
3:35 a.m. Victim (1961). Dirk Bogarde, Sylvia Sims.
June 27
7 p.m. Staircase (1969) Richard Burton, Rex Harrison.
9 p.m. The Fox (1967) Sandy Dennis, Anne Heywood.
11 p.m. The Boys in the Band (1970) Kenneth Nelson, Leonard Frey.
1:15 a.m. The Killing of Sister George (1968) Beryl Reid, Susannah York.
Since you mention it. I never thought anything about The Three Stooges sleeping together either.
Not unusual. The whole gay agenda has been to try to make us believe that homosexuality is more prevalent (therefore acceptable) than it really is.
Actually this movie portrays homosexuals as miserable, bitter, angry, jealous, depressed--anything but "gay."
At the end of the movie, the straight guy, who is goaded by his gay friends to "call the person you love the most," hoping that he will call a man he once had a crush on in high school--picks up the phone and calls his ex-wife.
What about Rope?? Ohh I guess since it’s about murder it would send the wrong message..hmmmm.
"Kill the Wabbit!"
It wasn’t Tony Randall, it was Gig Young.
I never thought that Peter Lorre's depiction of Joel Cairo was particularly veiled. Joel was as queer as a three dollar bill.
” I think he is really reading things in that are not there.”
Oh they are good at that, much like they read into the MA Constitution!
You are absolutely right. I would have sworn it was Tony Randall. But even more egregious was my mistake about the lead character. It was Cary Grant rather than Rock Hudson.
Oh well, I guess I’ll have to watch that movie again. It’s been a while. John Astin was absolutely hilarious as the sleazy unemployment clerk:
Mr. Everett Beasley: Oh! Well, Miss Timberlake, back again for a little of the taxpayers’ money, hmm? So did you work last week?
Cathy Timberlake: No.
Mr. Everett Beasley: Are you available for work?
Cathy Timberlake: Yes.
Mr. Everett Beasley: Did you turn down any jobs?
Cathy Timberlake: No.
Mr. Everett Beasley: Are you busy tonight?
Cathy Timberlake: Yes.
Mr. Everett Beasley: If, in our opinion, the applicant hasn’t exercised proper diligence in seeking employment, we can withhold payment of checks... Perhaps tomorrow night? There’s a wonderful little diner round the corner from where I live and after dinner we could, uh, well... perhaps...
Cathy Timberlake: Go up to your apartment?
Mr. Everett Beasley: Well, I, uh...
Cathy Timberlake: If you want me to go up to your apartment, come out and ask. That way I can think about it and make a decision.
Mr. Everett Beasley: Would you like to stop off at my place?
Cathy Timberlake: May I have my check?
Mr. Everett Beasley: Oh. Of course. Well?
Cathy Timberlake: I would enjoy going out with you, Mr Beasley... if I didn’t find you so personally distasteful. You’re a sneaky, crude, offensive man. That’s just how I feel. I’m sure there are hundreds of girls who admire those qualities.
TH pointed out that Roger was played by Gig Young rather than Tony Randall. Here was the doctor’s line after he misinterpreted Roger’s monologue and thought Roger was attracted to Mr. Shayne:
Doctor Gruber: Cancel that order for Consolidated Wire! My informant has developed some instabilities which makes his judgment questionable.
I came in after the beginning of the Portrait of Dorian Gray the other day and was a bit surprised when they went to commercial and the host started talking about gay-themed movies.
While Dorian was beautiful in what could be construed as a gay way, having the host say that Dorian is able to convince his friend to help him with a body because he has secrets on him that his wife wouldn't want to know about doesn't translate to gay in my book. Could be, but without something more concrete, it's just stretching.
I found Dorian to be very attractive, but being a beautiful male doesn't mean he was gay.
Bugs is dressed as a female hillbilly and asks the guys for jukebox money...
(Bugs is handed a nickel and he puts it into the jukebox.)
Bugs: (Girl voice.) Thanks just all to pieces. Sow Belly Trio comin’ right up...
(A trio appears in the jukebox — a fiddle player, an accordionist and a guitar player. The guitarist calls the square dance:)
Caller:
(Spoken.) Let’s all square dance. Places all. (The scene cuts to the boys and Bugs forming to start dancing. They follow the instructions of the caller.)
Caller: Bow to your corner, bow to your own.
(Singing.) Three hands up and ‘round you go,
Break it up with a dosey-do.
Chicken in the bread pan kickin’ out dough,
Skip to ma Lou my darling.
The old lady out you pretty little thing,
Promenade around the ring,
Big foot up and little foot down,
Make that big foot jar the ground.
Lady step back and two gents in,
Back you go and forward again.
Step right up with an elbow swing,
Skip to ma Lou my darling.
(Bugs nonchalantly dances away from the brothers towards the jukebox.)
Caller: Allemande left with the old left hand
Follow through the right an’ left grand.
(Bugs removes his disguise while still dancing, dons a floppy hat and grabs a fiddle.)
Caller: Meet your honey with a great big smile
Promenade Indian style.
(Bugs unplugs the jukebox with his foot and takes over as the fiddler and caller, all without missing a beat. The brothers continue to do as the caller says:)
Bugs: (Singing.) Promenade across the floor,
Sashay right on outa the door.
Out the door and in to the glade,
And everybody promenade.
(Bugs prances outside, fiddling for all he’s worth.)
Bugs: (Singing.) Step right up, you’re doin’ fine,
I’ll pull your beard, you pull mine.
Yank it again, like you did before,
Break it up with a tug o’ war.
(The beard tug of war gets the brothers onto a wooden bridge. Bugs snips their beards with scissors so they lose their grip and fall off of the bridge into a stream.)
Bugs: (Singing.) Now into the brook and fish for the trout,
Dive right in and splash about.
Trout, trout, pretty little trout,
One more splash and come right out.
(The brothers promenade out of the stream onto dry land, dripping.)
Bugs: (Singing.) Shake like a hound dog, shake again,
Wallow ‘round in the ol’ pig pen.
(The brothers jump into a nearby hog waller.)
Bugs: (Singing.) Wallow some more, you all know how,
Roll around like an old fat sow.
(The boys stand up in the mud. They both have a pig dance partner now.)
Bugs: (Singing.) Allemande left with your left hand,
Follow through with a right-left grand.
Now lead your partner, the dirty ol’ thing,
Follow through with an elbow swing.
(The brothers lose their new partners and return to dry land.)
Bugs: (Singing.) Grab a fence post, hold it tight,
Womp your partner with all your might.
Hit him in the shin, hit him in the head,
Hit him again, the critter ain’t dead.
Wop him low and wop him high,
Stick your finger in his eye.
Pretty little rhythm, pretty little sound,
Bang your heads against the ground.
(Bugs continues to fiddle away.)
Bugs: (Singing.) Promenade all around the room,
Promenade like a bride and groom.
(Bugs leads the boys to a hay baler machine. He opens a door in the machine for them to enter.)
Bugs: (Singing.) Open up the door and step right in,
Close the door and into a spin.
Whirl, whirl, twist and twirl,
(Bugs throws a switch, turning on the baler.)
Bugs: (Singing.) Jump all around like a flyin’ squirrel.
Now don’t you cuss and don’t you swear,
Just come right out and form a square.
(The “output” of the baler is a large toaster. It “pops”, and the boys are ejected as part of two bales of straw. The scene cuts to a meadow. Bugs is again leading the brothers (who are no longer “baled”) with his calling.)
Bugs: (Singing.) Now right hand over and left hand under,
Both join hands and run like thunder.
Over the hill and over the dale,
Duck your head and lift your tail.
(The call, “duck your head” comes in time for the running brothers to avoid a low-hanging tree branch. “Lift your tail” gets them safely over a rail fence.)
Bugs: (Singing.) Don’t you stray and don’t you roam,
Turn it around and promenade home.
(”Turn it around” prevents the boys from running off the edge of a cliff. They both wipe their brows in relief).
Bugs: (Singing.) Corn in the crib pen, wheat in the sack,
Turn your partner, promenade back.
(Unfortunately for the brothers, “promenade back” takes them back over the edge of the cliff. They “walk on air” for a bit before gravity takes over. Bugs looks over the edge of the cliff at the brothers below. They’ve landed at either side of a small stream. He talks to them almost gently:)
Bugs: And now you’re home.
Bow to your partner
Bow to the gent across the hall.
(At the end of their bow, the brothers collapse back into the stream.)
Bugs: And ‘dat is all.
(Bugs ends it with a final fiddle flourish. Iris to black...)
I cannot believe that they left out Marlene Dietrich laying one on the lips of a woman in Morrocco. And I certainly believe the subtext between the relationship between Joan Crawford and Mercedes Cambridge was lesbian in the very very strange Johnny Guitar.
Rope was based on the old notion that brilliant “superior” people could devise a perfect murder. In fact, it was based on an actual real-life case in which a couple of high IQ students murderd someone just to do it, as is depicted in the film. Although one or both actors playing the murderers in Rope may have been gay in real life, the relationship between their characters in the film is, at best, ambiguous. There is no overt gay aspect to the story. The audience is always free to interpret any film or play in any way they wish. But the story told in Rope has nothing to do with sexuality and everything to do with exploring the elites and just how far their privileges extend.
“What?! No John Wayne or Jimmy Stewart films on the list. ;-)’
I don’t know. Was it True Grit where the Duke said, “Fill your hand, you son of a bitch!”?
I disagree. I do believe the two main characters were gay and there’s also subtext regarding Rupert’s “friendship” with Morgan. It’s all open to interpretation. I actually wish it was on the list because I enjoyed the movie and it seems that the only time it plays is once a year or so. I’ve been trying to find a copy of it online for weeks..that and Vertigo.
The movies aren't necessarily "gay-themed", but rather contain homosexual characters (or what may be perceived by some as homosexual characters). Certainly the character played by Chistopher Hewitt (TV's Mr. Belvedere) in The Producers was a homosexual character.
Watching Suddenly, Last Summer with Montgomery Clift, Liz Taylor and Kate Hepburn the other night, I was bemused when the unseen homosexual characeter Sebastian Venable (Hepburn's son) was described as a monster in the discussion before the movie was shown. While he was certainly a dispicable and immoral character, I found the real monster of the movie to be Kate Hepburn. She was so in denial about her deceased son's sexual predilictions, she was willing to have her neice (Taylor) lobotomized in order to keep the truth of her son being known.
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