In his reconsideration of Midnight Cowboy, Jon Towlson suggests that, when seen from all of these perspectives, the film represents an important turning point in the presentation of gay themes—not quite a celebration of gay male bonding but a crucial step in this direction and thus a forerunner to many films that followed.
More
Kijak’s documentary, Rock Hudson: All that Heaven Allowed, wants to show how Hudson was the ultimate victim of the “celluloid closet,” as film historian Vito Russo called it back in 1981. This was the same year in which Hudson underwent quintuple bypass heart surgery due to his pack-a-day smoking and alcohol intake.
More
OFFICIALLY CHRISTENED Eternal Youth but generally known to natives of Winnipeg by its nickname “The Golden Boy,” the statue high above the dome of the Manitoba Legislative Building seems to have been inspired by Giambologna’s Flying Mercury in Florence’s Bargello.
More
Goldin is one of the documentary’s producers and its principal protagonist. The film thematically weaves together two complex narrative strands: her personal story and the protest against the Sacklers. The latter takes place against the backdrop of images from The Ballad of Sexual Dependency (1985), her autobiographical slide show set to music that became a cultural touchstone of the 1980s and elevated Goldin to prominence as a photographer.
More
YIDDISH has entered the American language so extensively by now that most people have probably heard the word “shiksa”—especially if they’ve read Philip Roth’s Portnoy’s Complaint. It’s the Yiddish word for a gentile woman. Robert Hofler’s new book on the making of the Barbra Streisand-Robert Redford movie The Way We Were (1973) is about its masculine equivalent, the much less euphonic “shegetz.”
More
Our Flag Means Death is unlike any other show out there, although I must warn viewers beforehand not to expect a clichéd fairy-tale ending. And yet, if Season 1 comes to an end, can Season 2 be far behind?
More
My Policeman and Spoiler Alert could not be more dissimilar in tone, but they both portray men in love as dismally doomed from the get-go. Neither challenges the cultural script that male relationships must end disastrously, though My Policeman does offer the two principles some redemption as old men.
More
Another provocative idea buried in the script by Eichner and co-writer Nicholas Stoller is that all romantic love is not the same, which flies in the face of the love-is-love mantra that LGBT folks often espouse. The awkward sex scenes bear out this idea when Bobby and Aaron wrestle in their underwear, sniff poppers, and end up with post-coital grins to match.
More
Joel Kim Booster’s Fire Island is not only a light-hearted love letter to its eponymous locale but a randy reimagining of Pride and Prejudice. In the role of Noah (a corollary of Jane Austen’s feisty heroine, Elizabeth Bennet), Booster speaks directly to the audience and helps to translate terms that an “outsider” may not understand.
More
MY FIRST GRETA GARBO experience was the 1933 film Queen Christina. From the moment she appeared on the screen, I found myself breathless, overcome by her cinematic presence. I barely paid attention to the story or the other characters; all I saw was Garbo.
More
