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Straight Films That Are Actually Gay.

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Dougie B, thank you - 

 

and thanks for bringing up an even more intriguing but similar situation in the film version of Herman Melville's "Billy Budd".

 

The sad fact of Richard Boone's hard-bitten veteran is that even if he did manage to bed George Hamilton's character, he probably would never be able to forgive himself.

 

But he would still continue to do it - and not talk about it.

 

The film itself presents such a negative, agonized view of men - without women.

 

So many of them get blindingly drunk - or, like Charles Bronson's character, fixate on sex with women.

 

And, of course, the reality is that sex - with men - could not have an unknown experience for these men. 

It does sound like the writer lifted the plot from "Billy Bud".  "Straight" men usually show their love for each other by beating up their love object.

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It does sound like the writer lifted the plot from "Billy Bud".  "Straight" men usually show their love for each other by beating up their love object.

Jaragon -

 

yes, indeed, figuratively or literally.

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In "A Passage to India" (1984) there seems to be a real bromance between Aziz  and Fielding- I wonder if E M Foster wanted them to be more than just friends?   The Fielding character does come across a gay man  or is it just the way that Fox is playing him.  The woman he marries at the end seems to come out of nowhere- but we do get his touching reunion with Aziz who still seems to be single . 

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In "A Passage to India" (1984) there seems to be a real bromance between Aziz  and Fielding- I wonder if E M Foster wanted them to be more than just friends?   The Fielding character does come across a gay man  or is it just the way that Fox is playing him.  The woman he marries at the end seems to come out of nowhere- but we do get his touching reunion with Aziz who still seems to be single . 

Yes, I agree, the dynamic between Aziz and Fielding is an interesting one.

 

There is so much "subtext" in E.M. Forster's writing.

 

Fielding does seem an unusually compassionate soul.

 

He even comes to Ms. Quested's aid at the end when she could've been thrown to the wolves.

 

passagetoindia_4.jpg

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Yes, I agree, the dynamic between Aziz and Fielding is an interesting one.

 

There is so much "subtext" in E.M. Forster's writing.

 

Fielding does seem an unusually compassionate soul.

 

He even comes to Ms. Quested's aid at the end when she could've been thrown to the wolves.

 

passagetoindia_4.jpg

Fielding might be read as an stand in for E M Foster  or gay man from a generation that had to stay in the closet and eventually get married - the marriage specially seem arbitrary now- I might be reading too much into this but the woman seemed a bit masculine to me - the love story is really between the two men -  this is such a great film I specially love the scene in the temple with those scary monkeys- Lean was paying a hommage to Hitchcock

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Fielding might be read as an stand in for E M Foster  or gay man from a generation that had to stay in the closet and eventually get married - the marriage specially seem arbitrary now- I might be reading too much into this but the woman seemed a bit masculine to me - the love story is really between the two men -  this is such a great film I specially love the scene in the temple with those scary monkeys- Lean was paying a hommage to Hitchcock

Yes, I agree, Fielding could be seen as a stand-in for E.M. Forster.  He did put some version of himself in most of his novels.

 

And, yes, I agree, "A Passage to India" is such a great film.

 

The sad fact is that it took the incomparable David Lean thirteen years to finance it.

 

It was due to the box-office failure of "Ryan's Daughter", which today can only be seen as another one of Mr. Lean's great films.

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Don Coscarelli's  "Phamtasm" is about two brothers Mike played by the androgynous  Michael Baldwin and  Jody played by Bill Thornbury .  Mike  is a bit too obsessed with his older hunky sibling who he follows everywhere even when the guy is trying to get laid in a grave yard.  Reggie Basniter  is Jody's best friend who doesn't seem to have a girlfriend . The women in this film do not play a major role they are either victims or monsters.  Bill Thornbury is the movies main lust object. The main love story seems to be an unspoken attraction between Jody and Mike.  I know there have bee suggestion that Mike  is more than just gay coded- when Jody and the woman are making out- the camera cuts from a gratuitous shot of his naked **** to Mike's reaction.  And later Jody abandons the girl is order to take care of his younger brother.  The ending of the film suggest that perhaps Mike has found a safer male love object but of course in this classic horror movie nothing is ever what it seems.  I don't know if this was the director's intention or if just me looking for subtext- the casting specially of the twink like Baldwin and the smoking hot Thornbury doesn't hurt the gay reading of film. They don't just look like brothers but hey have a very physical relationship.   

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"Papillon" (1973) the bromance between Papillon (now isn't that a kind of gay nickname?) and Degas doesn't work because McQueen and Hoffman have zero chemistry .  At times it seems that Hoffman is playing the gay subtext but McQueen refuses to go there.  The other bromantic couple in the film are Julot ( Don Gordon) and Lariot ( Bill Mummy)  who share some sort of dad/son bond but that is quickly over when Julot decides to fake an injury and Lariot goes insane with out his father figure.

The most interesting out gay character is Maturette ( Robert Derman) - after Papillon suggest he gives the nasty prison guard a good time for money- Maturette almost slashes his throat- and later declares that he may be "A pansy, a **** and a poof" but he is no wimp because he killed a man.  ( I mean just one declaration of his sexuality was not enough)  Papillon could just have saved himself some bucks if he had just had sex with Maturette ( but hey McQueen was not going there! ) Maturette turns out to be one tough hombre during their escape -which made me wonder why Papillon doesn't dump the whiny useless Degas into the ocean and go live with Maturette on a nice island.   (SPOILER ALERT)

 

Unfortunate Maturetter must suffer the fate of most gay character of the period and is doomed.  The film really looses steam once he is out of the picture- Papillon's going native with a topless native woman seems to be in the film so that we know that the character is straight.

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Yeah I saw your earlier comment. Especially the remora taken from a shark as a display of bro-buddy affection. Priceless! Also the dachshund is  getting a lot of attention as well.

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Yeah I saw your earlier comment. Especially the remora taken from a shark as a display of bro-buddy affection. Priceless! Also the dachshund is  getting a lot of attention as well.

Seriously I love to re edit that video add some sexy music and turn it into a gay coming attraction trailer-  " Under the Ocean anything is possible...even man love"

 

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There is a YouTube video called "Gay shots in Battleship Potemkin". However, it looks like the creator added some addition footage shot silent and black and white that I don't recall seeing in the original 1925 version. (No, don't post that one here, even though it is tame enough for you to use your imagination. Ha ha!) 

 

I always chuckled over how the guys in All Quiet On The Western Front (1930) are shown having fun bathing together in the river until the French girls show up and they suddenly realize "oh this is what we are supposed to do... go after them". (Speaking of soldiers at bath time. Mel Gibson has never been gay friendly with some of his controversial remarks, but he has a lot to answer for in Gallipoli.)

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There is a YouTube video called "Gay shots in Battleship Potemkin". However, it looks like the creator added some addition footage shot silent and black and white that I don't recall seeing in the original 1925 version. (No, don't post that one here, even though it is tame enough for you to use your imagination. Ha ha!) 

 

I always chuckled over how the guys in All Quiet On The Western Front (1930) are shown having fun bathing together in the river until the French girls show up and they suddenly realize "oh this is what we are supposed to do... go after them". (Speaking of soldiers at bath time. Mel Gibson has never been gay friendly with some of his controversial remarks, but he has a lot to answer for in Gallipoli.)

The gay shots in " Battleship Potemkin" are obviously fake- one of the actual sailors from the real film looks looks like Chaning Tatum Sergei Esenstein was gay so who knows what was kept out the real movie

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Gee. I am shocked! Considering the food shortage on the ship (and a reason they are feisty), those soldiers look rather healthy and bulky-hulky.

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"The Possession of Joel Delaney" (1972) is this scary horror movie Shirley MacLaine must confront supernatural evil when her brother (Perry King) is possessed by the homicidal spirit.  King, looks very pretty and even though he seems to have a girlfriend - he seems gay coded.  King had an intense relationship with a young Puerto Rican man which is never really explain unless they were lovers. The gay angles adds another level to the film's premise in which rich white MacLaine must venture into El Barrio in order to help save King.  In the films disturbing climax which takes place on a beach house in Fire Island (!?) King tortures MacLaine and her children. He makes his nephew strip and dance naked on a table (!?) a still shocking image.

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"It's Always Fair Weather" (1955) a very dark for MGM musical about a trio of bromantic  soldiers.

Gene Kelly, Dan Daily and Michael Kidd who were great friends during the war they celebrate their return home by getting drunk and performing a exuberant manly dance. The choreography seems to suggest they have another type of male bonding on their minds.  They don't have sex instead pledge to honor their undying friendship and get together in ten years.   Reality soon hits the fan and their dreams get down graded- Kelly becomes a gambler, Daily gives up his art career and settles for a safe corporate job and loveless childless marriage. Kidd just opens a burger joint and has lots of children.   The ten year reunion is a disaster the men have nothing in common. Cyd Charisse tricks the men into appearing in a tv show called "Midnight with Madeline"  Dolores  Gray plays the host who acts  like a drag queen.  The reunion seems to have the greatest effect of the gay coded Daily- his wive wants a divorce ( gee I wonder why?!) and in amazing drunk/break down number which includes a bit of comic cross dressing- he realizes that he is living a lie.  He shaves off his mustache ( to please his buddies) and after another manly fight production number the bromance is saved.  But in the forced happy ending everyone must go on their heterosexual safe path- Kidd goes back to the family (well at least he seem to be enjoying a healthy sex life) Kelly and Charisse end up together( but seriously I don't see this lasting more than a couple of weeks) and Daily's wife wants him back perhaps all that manly fighting got her interested in finally having children. In a more realistic ending Daily would have gotten a divorce, moves to the West Village and started painting young models who reminded him of Gene....but instead we get the all is safe with the world  ending but I have a feeling the creators were not buying either- the final shot a very phony ( even for it's day) matte painting of Manhattan makes it clear there are stormy clouds ahead.

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Howard Hawk's "The Big Sky" (1952)  what's going on between Kirk and Dewey?  And Dewey looks very nice in those leather pants.... ;)

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Howard Hawk's "The Big Sky" (1952)  what's going on between Kirk and Dewey?  And Dewey looks very nice in those leather pants.... ;)

This film has such a pronounced gay subtext.

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I wonder if Hawk's was bi...?  All his films are usually about a group of men and yeah there is a woman thrown in but the guy seem to get along fine with out her. 

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In Ben Hur, Stephen Boyd and Demille decided on a gay subtext but didn't mention it to Heston. I think that's the story - someone correct me.

It was supposedly a decision between William Wyler, the director and Stephen Boyd.

 

Stephen Boyd was obviously a gay man.

 

And he used his sexual orientation as "acting subtext".   

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"Mutiny on the Bounty" (1935)  Bligh's sado-masochistic treatment of the crew can be read as some sort of closeted homosexual desire.  The crew does spend a great deal of time shirtless, getting whipped or tied up ( I'm surprise there is not gay porn version of this story I guess you need a big budget to pull it off)  Christian and Bryan are extremely bromantic- ( it made me wonder if there was something going on between Gable and Tone off screen) yes  I know the women are in the mix- but you can imagine Christian and Bryan heading off alone together.  

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"Mutiny on the Bounty" (1935)  Bligh's sado-masochistic treatment of the crew can be read as some sort of closeted homosexual desire.  The crew does spend a great deal of time shirtless, getting whipped or tied up ( I'm surprise there is not gay porn version of this story I guess you need a big budget to pull it off)  Christian and Bryan are extremely bromantic- ( it made me wonder if there was something going on between Gable and Tone off screen) yes  I know the women are in the mix- but you can imagine Christian and Bryan heading off alone together.  

Captain Bligh did come across as an extremely closeted individual.

 

And Charles Laughton was a gay man.

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Often cited as a subversive example of a young man's homosexuality, "Equus" is one of those films that should not have been made.

 

The play by Peter Shaffer belongs on the stage.

 

When it is opened up for the screen - and made visual (a lot of it) - it loses its' impact.

 

But Mr. Shaffer did the screenplay himself.

 

The boy's problem - that he has fallen in love - with horses (?!) - is generally believed to be a veiled reference - to homosexuality.

 

Mr. Shaffer was a gay man.

 

At the end, the psychiatrist believes that he can eradicate "the problem".

 

Of course, today, that particular ending does not work.

 

The film, which is made much too literal by the gifted director, Sidney Lumet, has two very strange and very creepy performances from its' stars, Richard Burton and Peter Firth.

 

The psychiatrist, Martin Dysart, envies the PASSION that the boy experiences - with horses (?!).

 

However, on stage, this very material, which leaves a lot more to the imagination, has both power and mystery, which the film dissipates with its' constant visualization.

 

Perhaps Mr. Shaffer was pushed too far by Mr. Lumet.

 

(There's a great deal of full-frontal nudity with Mr. Firth - and the horses!  Again, it is "a visualization" that we don't really need.)

 

sddefault.jpg

 

And, again, more fully -

 

http://worldcinemaparadise.com/wp/wp-content/uploads/2014/05/Equus-2.png

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