ACOMSDave

Community Journalist

Now we have proof that Hollywood 'ignores gay and lesbian characters'

By Leave a Comment

Brokeback Mountain

Jake Gyllenhaal and Heath Ledger in Brokeback Mountain.


 
Mainstream cinema remains unwilling to feature lesbian, gay, bisexual or transgender characters and continues to “distort the demographic reality” of audiences, according to a new report.
Analysis of 700 films released between 2007 and 2014 found that less than one per cent of leading characters were gay.
Out of a total of 4,610 characters in the top 100 films of 2014, 10 were gay men, four were lesbian, and five were bisexual. No transgender characters featured.
Only 14 of the 100 films had one or more LGBT characters.
Virtually no lesbian, gay or bisexual characters were shown in healthy relationships, researchers noted. depictions of healthy romantic or sexual relationships were “scarce”, they said. Of 19 lesbian, gay or bisexual characters, only two were portrayed as being in a public, stable, long-term partnership and two were shown dating.
Furthermore, no lesbian, gay or bisexual characters were depicted as raising children together. “The landscape of popular cinema remains skewed and stereotypical,” the researchers said.

Breaking the Gay Code in the Movies

By Leave a Comment

Breaking the Gay code in the movies shows how, before obviously gay characters were allowed on the big screen, subtle (and not so subtle) indicators were used. Here are our favourite 12.

The Advocate: BY CHRISTOPHER HARRITY AND TRUDY RING

APRIL 23 2015 5:00 AM


It took a long time for Hollywood to call a spade a spade. Then it took even longer for positive representation, so get prepared for weak but psychotic murderers and the like. Now that it’s all out in the open, the hide-and-seek aspects of these old film characters seem like risqué fun. Back then, for those in the know, there was nothing ambiguous here — like a big wink from Hollywood.

John “Plato” Crawford (Sal Mineo), Rebel Without a Cause, 1955 
In the tribute montage above (which includes some beefcake of Mineo for good measure) it’s hard to see how people didn’t understand that Plato was, well, in love with James Dean’s character. And Dean is doing nothing to discourage it. Just follow Mineo’s eyes. The mirror on his locker, with the photo of Alan Ladd, are like giant hairpins dropping. — C.H.

Luz (Mercedes McCambridge), Giant, 1956 
OK, first of all, her name is Luz. Get it? Plus Giant gets some kind of an award for the most gay and bisexual actors ever in one film: James Dean, Rock Hudson, Sal Mineo, Earl Holliman, and while Mercedes never personally came out, she played the most fiercely dykey roles on-screen to perfection.  — C.H.

Jo (Barbara Stanwyck), Walk on the Wild Side, 1966
Even the ferociously closeted actress Barbara Stanwyck admitted that her character, the madam of the bordello, Jo Courtney, is a lesbian. And in the spooky way that only Hollywood can create, the love interest/prostitute is Capucine, one of the most beautiful but icily sexless women to have graced the silver screen. Stanwyck smacks Capucine around some, which is the equivalent at the time of hot lesbian sex, at least in the male film creator’s eyes. Don’t miss the very hot Jane Fonda as a baby whore and Anne Baxter as a Mexican. — C.H.

Dill Harris (John Megna) and Scout (Mary Badham), To Kill a Mockingbird, 1962
I would love to have been on the set of this film when the director, Robert Mulligan, told John Megna, the actor playing Dill, to swish it up somewhat. Megna actually nails it without a lot of fuss. Dill Harris is based on Truman Capote, author Harper Lee’s childhood friend. Lee later helped Truman with his work on In Cold Blood. That the Harper character is named Scout and has a haircut that looks as it was done with an egg beater is sophisticated gender role-play for the time.— C.H.

Brandon (John Dall) and Phillip (Farley Granger) Rope, 1948
Alfred Hitchcock was fascinated by gay and lesbian characters, and there are sly and not so sly references in many of his films. Rope is fairly overt. The movie is based on a play, which was based on the the true story of Nathan Leopold and Richard Loeb, who murdered 14-year-old Bobby Franks in Chicago in 1924. This time bi actor Farley Granger gets to be smacked around some for being hysterical and nelly, which is definitely code for gay. But the biggest whiff of lavender is that two young well-dressed male roommates are throwing an odd dinner–cocktail party hybrid. Who does that? James Stewart’s Rupert Cadell may or may not be gay in intention, but if the original casting choice of Ray Milland had played the role we would have been much more likely to see him as gay. — C.H.

Phillip Vandamm (James Mason) and Leonard (Martin Landau), North by Northwest, 1959
In another gay-inclusive Hitchcock classic, suave villain Phillip Vandamm has a thing going with Eve Kendall (Eva Marie Saint), who’s actually an American spy trying to find out how he’s exporting secrets to our Cold War–era enemies. He also may have a thing going with his devoted “right hand,” Leonard, or at least Leonard would like that to be the case. Leonard is suspicious of Eve, leading Vandamm to say, “I think you’re jealous.” “Call it my woman’s intuition,” Leonard responds. He’s undoubtedly jealous but he’s also on to her, and he ends up pursuing Eve and the film’s reluctant hero, Roger Thornhill (Cary Grant), in a climactic chase over Mount Rushmore. —T.R.

Joel Cairo (Peter Lorre), The Maltese Falcon, 1941
The effete, curly-haired, heavily perfumed Joel Cairo is among the shady characters seeking the priceless title statuette; detective Sam Spade (Humphrey Bogart) goes along with the quest in order to find out who killed his business partner. Cairo was clearly gay in the 1930 Dashiell Hammett novel on which the film is based; movies of the era couldn’t be quite so overt, but Lorre’s Cairo is so effeminate that he fits a certain stereotype of a gay man. Also, as The Peter Lorre Companion notes, he suggestively fondles an umbrella handle and gets his hand on Spade’s posterior briefly. Film experts have also observed that Kasper Gutman (Sydney Greenstreet) and his “gunsel,” Wilmer (Elisha Cook Jr.), seem to be a couple. — T.R.

Mrs. Danvers (Judith Anderson), Rebecca, 1940
In Hitchcock’s first U.S. release, soon after British aristocrat Maxim de Winter (Laurence Olivier) brings his new bride (Joan Fontaine) home to his great estate Manderley, we learn that Mrs. Danvers, the housekeeper, “adored Rebecca,” Maxim’s now-deceased first wife. That point is driven home as “Danny” fondles Rebecca’s lingerie — “Did you ever see anything so delicate?” she tells Fontaine’s character. “Look, you can see my hand through it!” She resents the presence of the second Mrs. De Winter (“Even in the same dress you couldn’t compare”) and does all she can to get rid of the new wife, and she also fondly remembers brushing Rebecca’s hair and laughing with her at the idea that Rebecca could ever love any man. Every housekeeper is that devoted, right? — T.R.

Bruno (Robert Walker), Strangers on a Train, 1951
In this Hitchcock film about a plot to trade murders , Farley Granger plays the hot straight guy that the unctuous Bruno, played by Robert Walker, inveigles into his lurid plan. Bruno’s nelliness would have been enough — plus he practically drools on Farley’s extra-wide lapels — but Hitchcock wants no ambiguity, so two-tone spectator shoes and flashy dressing gowns are used for the less-than-perceptive. — C.H.

Addison DeWitt (George Sanders), All About Eve, 1950
One of the greatest pleasures in a film with many is Sanders’s performance as drama critic Addison DeWitt, with his pitch-perfect delivery of Joseph L. Mankiewicz’s sardonic dialogue: “To those of you who do not read, attend the theater, listen to unsponsored radio programs, or know anything of the world in which you live, it is perhaps necessary to introduce myself,” he says in a voice-over as the movie begins. Addison is the ultimate condescending snob, described by one character as a “venomous fishwife”; in a less censored time, that would be “bitchy queen.” Along with his high-toned manner of speaking, his impeccable clothing and cigarette holder signal gayness, and he seems interested in women only to make them stars. “That I should want you at all suddenly strikes me as the height of improbability,” he says to the titular Eve (Anne Baxter). Addison is said to have been based on one of two acerbic New York critics of the 20th century, George Jean Nathan (apparently straight) or Alexander Woollcott, who was gay. Woollcott inspired other film portrayals as well; read on. — T.R.

Waldo Lydecker (Clifton Webb), Laura, 1944
Another character based on Woollcott, Waldo Lydecker is just as bitchy as Addison DeWitt and a lot more queeny. A powerful columnist and radio commentator, he’s helped the film’s title character to rise in the advertising business and he’s obsessed with her, but there are several indicators that his obsession isn’t of a sexual nature — those interests lie elsewhere. Key signs: the elaborately decorated apartment (“It’s lavish, but I call it home”), the walking stick, the perfection in dress and diction, and the fact that he answers questions from a hunky detective while in the bathtub. Played unforgettably by gay actor Clifton Webb, Waldo is the most fascinating character in the film, and he’d agree with that assessment. “In my case, self-absorption is completely justified,” he says at one point. “I have never discovered any other subject quite so worthy of my attention.” — T.R.

Sheridan Whiteside (Monty Woolley), The Man Who Came to Dinner, 1942
Is it a sign of our culture’s dumbing-down or just its fragmentation that we can’t think of any contemporary figure who’d inspire three fictional portrayals? Yet another character based on Woollcott is famed critic Sheridan Whiteside, a sophisticated New Yorker who gets stuck at a bourgeois Ohio couple’s home when he slips on the ice and breaks his leg while visiting. In this film adaptation of the George S. Kaufman–Moss Hart play, “Sherry” (played by gay actor Monty Woolley, a pal of Cole Porter’s) make lifes miserable for the couple, his nurse, and his secretary, and encourages his hosts’ son and daughter to rebel. Like Addison DeWitt and Waldo Lydecker, he does not lack for ego; “Is there a man in the world who suffers as I do from the gross inadequacies of the human race?” he wonders. Also like them, he has an effete manner and acid tongue that mark him as a certain type of gay man. And when a local journalist asks him how he thinks Ohio women stack up, he responds, “I’ve never gone in for stacking women up, so I really can’t say.” Whiteside entertains some showbiz visitors during his convalescence. They include playwright Beverly Carlton, who talks about seducing South Seas maidens but, as played by Reginald Gardiner, reads as pretty gay, and after all, the character is based on Noël Coward. Then there’s comedian Banjo (Jimmy Durante), inspired by Harpo Marx, with whom Woollcott was in love. Whether Harpo reciprocated is subject to debate. — T.R.

 
Links:

Young Gay Film Maker Needs Help To Get To Cannes

By Leave a Comment

By The Gay UK, Apr 17 2015 08:20AM
The ultimate high for every established filmmaker is to have your work accepted by the prestigious Cannes Film Festival, so you can imagine what a remarkable achievement this is when you are still a student and this is your very first film. This is exactly what happened to Robert Doobay a student at the University of Central Florida
Earlier this year in January he created a film with the help of his two best friends Gordon and Andrew for Campus Movie Fest 2015, and when it came to awards time they took home the Top Four and Best Directing Awards. They then got an offer of a screening in Hollywood this coming July, but then in early April, he received an email with news that their short film had been selected to play at Cannes.
Attending Cannes will open up huge doors for anyone who attends, as they will be able to network with industry professionals, attend production workshops, buy and sell rights to production companies, and, of course, watch great films. The problem, a huge one for a student, is that it costs money to get there, so Robert has opened an appeal for help raise this on gofundme.com
We are happy to lend our support and we think you will too after you watch his wee film which will hit a chord with anyone who has ever had a Grindr encounter.
Click on the link to the film, and then you can click on the link to donate. Every little bit will help send this talented young man on his way to fulfill his dream (and maybe encourage him to even get back on line again).
Click here to go directly to the GoFundMe page
by @RogerWalkerDack

Full BFI Flare Programme Revealed

By Leave a Comment

Full BFI Flare Programme Revealed

Reprinted from Front Row Reviews
By

Ollie.Charles

Published: February 22, 2015

Opening with I AM MICHAEL and closing with OUT TO WIN.
The full programme of the 2015 edition of BFI Flare: London LGBT Film Festival was released tonight at a public programme launch at BFI Southbank. The festival will take place 19th – 29th March 2015 at BFI Southbank and is supported by principal sponsor Accenture. BFI Flare is the UK’s leading LGBT film event and one of the world’s longest established with over 50 features, more than one hundred shorts and a wide range of special events, guest appearances, discussions, workshops and more. Tickets go on sale via www.bfi.org.uk/flare on 25th February for BFI members and 2nd March for non members.
Direct from premieres at Sundance and Berlin Film Festivals, we open with the UK Premiere of I AM MICHAEL. A feature directorial debut for Gus Van Sant protégé Justin Kelly, the film stars James Franco and Zachary Quinto in a powerful interrogation of gay identity through the real-life story of Michael Glatze, who went from crusading gay journalist to anti-gay pastor.
As evidence of the strength of documentary work in this year’s Festival, Closing Night will feature the European Premiere of director Malcolm Ingram’s highly topical and rousing OUT TO WIN, charting the experience of LGBT sportspeople working in the highest echelons of professional sport. Featuring contributions from such pioneers as Billie Jean King, Martina Navratilova, David Kopay, John Amaechi and Jason Collins, Ingram returns to the Festival after previously having screened documentaries SMALL TOWN GAY BAR and CONTINENTAL.
Director David Thorpe delivers the Accenture Gala with the European Premiere of DO I SOUND GAY?, a documentary exploring the provocative idea of whether there is a ‘gay voice’ and featuring humorous, insightful contributions from performers and comedians including Margaret Cho, David Sedaris, George Takei and Dan Savage.
Our Centrepiece Screening, the UK Premiere of STORIES OF OUR LIVES, directed by Jim Chu Chu is a drama adapted from real testimonies of LGBT Kenyans (where the film is banned for promoting homosexuality). Fresh from winning a Teddy Jury Prize at the Berlin Film Festival, this is powerful cinema but also essential viewing for those who are concerned about global human rights.
The festival offers rich cinematic insight into LGBT lives and loves around the world with films from the USA, France, UK, Spain, Netherlands, Denmark, Sweden, Germany, Poland, Mexico, Brazil, Argentina, Canada, Australia, Greece and India plus the world’s first LGBT film from Sri Lanka (FRANGIPANI).
Confirmed guests so far  include Justin Kelly (I AM MICHAEL), Malcolm Ingram (OUT TO WIN), Jeffrey Schwarz and Tab Hunter (TAB HUNTER CONFIDENTIAL), Mark Christopher (54: THE DIRECTOR’S CUT), Carol Morley (THE FALLING), Colin Rothbart (DRESSED AS A GIRL),  Jonny Woo and friends. More confirmations expected shortly.
The festival’s films are grouped into themed sections as follows:
HEARTS – films about love, romance and friendship
MATCH stars Patrick Stewart as an eloquent and entertaining dancer-turned-teacher who discovers more than he bargained for when he takes part in an interview about his career. Disco and an infectious beat are at the heart of the UK Premiere of Mark Christopher’s 54: THE DIRECTOR’S CUT, fresh from its world premiere at this year’s Berlin Film Festival and bolder and gayer than ever before.  UK feature film is represented in THE FALLING, Carol Morley’s wonderful tale of girl-school obsessions and hysteria. BROKEN GARDENIAS is a quirky dark comedy where Jenni is forced to confront a series of mishaps which turn into a dream-like quest for her long-lost father in LA. BLACKBIRD brings intense drama to a coming-of-age story set in a Mississippi small town including a stand-out performance by Mo’Nique as a traumatised mother.  FRANGIPANI, the world’s first Sri Lankan LGBT film, features a classic love triangle with two men forced to make difficult decisions. PORTRAIT OF A SERIAL MONOGAMIST is a whip-sharp comedy of 40-something lesbian dating, where commitments never seem to last for long but things of the heart are never simple. GIRLTRASH: ALL NIGHT LONG is that rare thing: a lesbian rock musical, with a healthy disregard for stereotypes and irresistible performances by a bright young cast and some great songs.
BODIES – stories of sex, identity and transformation
Our interest in the human form is reflected in a diverse group of films. The World Premiere of DRESSED AS A GIRL is a celebration of an indefatigable group of drag performers, filmed over five years, from London to Glastonbury and back again, up-close and personal with Jonny Woo, Holestar, Scottee, John Sizzle, Ma Butcher, Amber and Pia.  BORN TO FLY: ELIZABETH STREB vs. GRAVITY is a jaw-dropping encounter with the stunning aerial choreography of dancer Elizabeth Streb. DRUNKTOWN’S FINEST follows the lives of three young Native Americans, set against a background of extreme poverty, crime and violence, where coming-of-age presents difficult choices. MIRCO is a playful and thought-provoking documentary about three young people living in Berlin who identify beyond the gender binary, with the film-maker inspired by having spent some time in their early years mistakenly assigned a boy’s name (the Mirco of the title) and male identity. SOMETHING MUST BREAK is a tenderlove story between a shy trans teen and a young straight man, from the director of the acclaimed She Mail Snails. FULBOY is an insightful documentary into the real life of an Argentinian, professional football team, with camerawork which suggests there might be a ‘gay gaze’ or aesthetic, and offeringa surprisingly intimate look at these athletes in their prime.
MINDS – reflections on art, politics and community
Tab Hunter is a legend whose career as a Hollywood leading man was famously sacrificed when he was outed by his agent (to save the reputation of his other client Rock Hudson). Jeffrey Schwarz’s film TAB HUNTER CONFIDENTIAL, in its European Premiere, reveals the utterly compelling Tab Hunter and his extraordinary life at the movies and beyond, and will be presented by Tab Hunter at the Festival; Jenni Olson’s thoughtful essay film THE ROYAL ROAD (also here a European Premiere, fresh from its Sundance debut) is a meditation on life and art and the politics of landscape, wrapped up in a dizzyingly beautiful range of images, with musings on Hitchcock’s Vertigo and being a butch dyke. WE CAME TO SWEAT celebrates the Starlite, one of New York’s pre-Stonewall gay bars, a black-owned and operated influential dance club where some of the disco sound originated, and now in danger as the threat of redevelopment looms. EVERLASTING LOVE is a haunting tale of a teacher and student, and a group of friends caught up in illicit sexual encounters. The film’s languid camerawork belies the intensity of vision. THE LAST ONE: UNFOLDING THE AIDS MEMORIAL QUILT is an affecting account of the final episode in the rich history of what is now the largest folk art project in the world, celebrating the lives of those taken too soon by HIV. Céline Sciamma’s GIRLHOOD, a powerful, truthful story of young black girls growing up in Paris, subtly examines female friendship and gender dynamics. The ravishingly beautiful DIOR AND I celebrates the arrival of new designer Raf Simons at the house of Dior as he assembles his first couture collection in a film which truly gets under the skin of the fashion industry.
Special events:
This year is the 40th anniversary of the film THE ROCKY HORROR PICTURE SHOW which launched a thousand devotional dress-ups, and we’re having a special anniversary screening at the BFI IMAX followed by a Blue Room party; dressing up is definitely encouraged. In our regular lecture series We Love… this year’s subject is Xena Warrior Princess which will celebrate the 20th anniversary of Xena and other glorious female role models, followed by a suitably themed Warrior Women after party. The pioneering archive classic from Germany, Different from the Others (1919) will screen at the V&A.
And for book lovers, a special Flare bookclub ‘Reading Between the Lines: Queer Books on Film’ will allow a chance for discussion through screenings of key LGBT literary adaptations: ORLANDO, THE COLOR PURPLE, STRANGERS ON A TRAIN and FRIED GREEN TOMATOES AT THE WHISTLE STOP CAFE.
We’ll reprise some of the year’s most thrilling, previously released LGBT films in our BEST OF YEAR programme: APPROPRIATE BEHAVIOR, a delicious Persian-American bisexual comedy; THE DUKE OF BURGUNDY, a coolly modern take on a stylish 70s, European porn; and PRIDE, the beloved Brit hit. Pride will be followed by a talk with some of the people on whom the film’s characters were based who will share memories and experiences..