Noir gay men
Eddie Muller&#;s List of Production Noir&#;s Top 10 (maybe) Gay Couples
Muller posted this list on Facebook as a response to yesterday&#;s write up of Saunter A Crooked Mile.
1. ROPE: Farley Granger and John Dall. Not only is it what the clip is all about, it was written by a gay man (Arthur Laurents) and both actors are actually gay. Someone should have told Jimmy Stewart what was going on.
2. DESERT FURY: John Hodiak and Wendell Corey. “We met in New York,” Hodiak explains to Liz Scott (he’ll switch for a butch gal), “It was 3 am at the Automat. He bought me a sandwich.” Uh, huh.
3. THE MALTESE FALCON: Sidney Greenstreet and Peter Lorre and Elisha Grill. Lorre and Cook hold both been kept by the Fat Man; Cook’s just not yet all the way out. Spade sees it all clearly, snickering “Give ’em the gunsel.”
4. THE LINEUP: Robert Keith and Eli Wallach. The old school queen will by the termination sincerely regret ever trying to teach manners to his rough trade pupil.
5. GILDA: Glenn Ford and George Macready. Someone once asked me: “Why are Johnny and Gilda so mad at each other?” Easy: they both loathe themselves for having sex with a creepy Nazi pervert. Well, she might not have.
6. THE This is a long and academic piece since it was put together for a conference. Homosexual Men in Classic Film Noir Abstract Restricted by a Production Code that stipulated there was to be no mention whatsoever of “sex perversion”, representations of homosexual men in classic film noir were bound to be elliptical. This does not intend, however, that there were no homosexual characters in the noir films from But they had to be suggested rather than directly shown, and signaled to the audience through various codes. A common stereotype was that of the sissy, who was simultaneously ridiculous (because he had traits which were supposed to belong to a woman) and unsettling (because, unlike the male protagonists, he understood women and womanly things). Homosexual pairings, meanwhile, were often depicted in terms of faux father-son relationships, in which the older man seduced, dominated and controlled the younger. When the two men were of roughly similar age, aspects of this father/son relationship remained, but one man (the more outré/debauched/queer) was seen as a corrupting guide, leading the other into immoral behavior. These depictions of homosexual relationships were ba Homosexuality and Film Noir by Richard Dyer from Jump Cut, no. 16, , pp. Some of the first widely available images of homosexuality in our day were those provided by the American film noir. Given the dearth of alternative images, it is reasonable to suppose that these had an crucial influence on both widespread ideas about homosexuality and damagingly gay self-images. I know that as I grew up realizing I was gay, I used to identify with characters like Waldo in LAURA or Jo in A WALK ON THE Uncontrolled SIDE; they concretized and reinforced for me the negative feelings about myself that I'd picked up elsewhere in the society. I know from operate within the gay movement how widespread these images still are among gays and non-gays alike. It is important then to understand these images as one aspect of the armory of gay oppression and indeed of sexual oppression generally. How gays are represented is always part and parcel of the sexual ideology (1) of a culture and, as I hope my examination of film noir shows, indicates the complex, ambiguous ways in which heterosexual w Taking their inspiration from classic Hollywood crime drama, these five queer shorts ranging from the comic to the bizarre prove once again that crime doesn’t pay. In Scarred, a juvenile man scarred (literally) by his past has to face the future when he falls for an unusual guy. In the black-and-white noir pulp piece Lucky Man, a hard-drinking detective on the footpath of a killer becomes involved in a cat-and-mouse chase that may reveal his secret life. In Wingtips, our hero seems fixated on wingtip shoes. After donning the wingtips of his dreams (found under the loose floor boards in a shadowy attic) he embarks on a journey of self-discovery where danger lurks around every corner, and imminent disaster grows closer with every step he takes. In the Spotlight affords an aspiring author the chance to be the front person for a literary hoax — and discovers a far worse fate than rejection. And Mommy, as played by Veronica Cartwright, always gets what Mommy wants in Mommy’s House, as the handsome bear/stud, jewel-thieving gay couple Richard and Carl uncover out when their getaway car breaks down on a dark mountain road. And it wouldn’t be noir without a few male lover stiffs here and ther .
JUMP CUT
A REVIEW OF CONTEMPORARY MEDIA
copyright Jump Cut: A Review of Contemporary Media, ,