Overt, covert, explicit or implied, lesbian and gay characters have weaved their presence throughout motion picture history in one way or another.
Were there really coded ways to read these characters or just wishful thinking from a population desperately seeking their own positive reflection on the silver screen? Were cinematic easter eggs hiding in plain sight, planted by knowing producers and directors with a wink and a nod to those in the audience? I believe privately, behind-the-Hollywood-scenes, every body knew what was what and who was who. As long as it wasn’t made obvious and didn’t hurt box office, all was well. This was an open secret in Tinsel Town, but not for the moviefans. Silent film star William Haines was a career casualty by the mid-30’s. But he had an enormously successful second career as an interior designer, and a long term relationship few could rival, on that speedway to Reno, with Jimmie Shields that lasted until Haines’ death in 1973.
Hollywood’s films were always a little behind the times where LGBT topics were concerned compared to progressive Europe. In 1931 Leontine Sagan directs “Mädchen in Uniform.” A German film, this tells the sensitive story of a student who falls in love with her teacher at an all girls school. America had, what would later be known as, pre-code films…but nothing like that. ( Well, maybe “Little Caesar” ).
Then there’s “Quai des Orfèvres” ( a 1947-directed film by Henri-Georges Clouzot of “Wages of Fear” and “Diabolique”–fame ) a crime mystery where a side issue is a photographer in love with her flighty flirty coquettish friend who is involved in murder. The film doesn’t make this attraction the focal point of the story, and doesn’t make it a big deal. And the movie doesn’t judge the photographer either ( played by the beautiful Simone Renant ). She just is. Move along now. Nothing to see here…other than that dead body over there.
But back to the state of the good ol’ U.S. of US.
There were all sorts of ways these characters were woven into classic films that allowed us a safe front-row seat into the LGBT experience; and a lot of times the depiction made the audience glad they weren’t in their shoes. Some characters portrayed funny types or were poked fun of. Some you wouldn’t want to meet in a dark alley. When you saw men like Peter Lorre and Douglas Walton in “The Maltese Falcon” and “Murder, My Sweet” visit detectives Spade and Marlow, you knew a beat-down was expected…and “deserved” for their subtle flamboyancy. ( Those quotes are on purpose ). This is the way folks thought back then.
The message first and foremost was clearly, this “thing” was not something wanted by the characters. In “Dracula’s Daughter” the countess doesn’t want to be a vampire. She seeks a cure. But when the blood urge takes over, any jugular vein will do nicely.
By the time “THE HUNGER” ( 1983 ) comes along, folks line up around the block to be bitten by Catherine Deneuve
Some characters are all over the map and this was just part of experimenting. No harm, no foul; a journey in self-discovery before they perhaps moved on to the next thing. At times characters were not even aware of the who(s), what(s) and why(s) of their feelings.
And other times, they were…
Housekeepers and best friends, gangsters and cowboys and travel companions had strong unspoken attractions. The characters might not know it, but sometimes we, the audience, had no choice but to acknowledge what we see. Nine times out of ten, if the character became self-aware, suicide was the only option.
Maybe this onion peeling and archaeological digging builds up character. Sometimes I feel very wise when I recognize these nuggets and dumb when the subtlety goes over my noggin’. I am irked when I see lovers ‘in name only.’ I’m left scratching my head saying “Why bother?”
What is this thing called “love”? Maybe it’s just a deep friendship. Yeah, that’s the ticket. Pay no attention to that beautiful girl there trying to get our hero’s
attention. Two of the most wonderfully marvelous films with a gay subtext has to be /\ “Desert Fury” ( 1947 ) and “Warlock” ( 1959 ). \/ Real or imagined, but most-likely real, ( yeah…let’s just say real ) in these two films it seems a woman comes between the deep
friendship of the two men. No, I don’t mean like Tyrone Power and Dana Andrews in “Crash Dive” ( 1943 ) mooning over Anne Baxter. Or Cary Grant trying not to lose Deborah Kerr to Robert Mitchum in 1960’s “The Grass Is Greener.” Or John Wayne and Ray Milland vying for the charms and affection of Paulette Goddard in “Reap the Wild Wind” from 1942. Those guys have a very different vibe. C’mon, you know what I’m talkin’ about. I mean there’s an unmistakable resentment from said wingman. Follow me now…in these two movies, the professions ( mobster and gun-slinger ) of the Alpha male and the Wing man are pretty dangerous, so you need a partner you can trust to watch your back in these life or death situations. This could be why a woman coming between them ruffles feathers. But to me, somehow, the girl feels like a convenient plot device when clearly the relationship is between the two men.
Also mucking things up is when the Wingman ( Wendell Corey and Anthony Quinn in “Desert Fury” and “Warlock” respectively ) feels he’s always been doing the heavy lifting in the relationship; HE’S the brains behind the legend. HE’S carrying the reputation: ( “I’m better than you Clay,” says Quinn to Fonda and challenges him to a gunfight ). They were pals until a woman came around and Fonda wants to go straight. ( Get it…straight? Okay okay ). Mad tension’s all around. Do you feel like I’m reaching? Should I pull back? See these two movies yourself, and tell me what YOU see. If it’s my imagination, I’ll eat your hat.
( I can’t be too off because this is touched upon in BNoirDetour’s blog post as well: Here. )
I know I know, classic movies are unfair. Or we look at them unfairly. But after all they ARE from another era. They turned the LGBT experience into closeted furtive situations with killers, murderers, insinuating masseuses and venomous reporters. No one is nice and happy. No one has a loving relationship. Very few are desirable.
“Someday you’ll find out who your friend is.” I love how comfortable Dana Andrews is.
Right on! I love looking for those Easter eggs too. I did a post on a movie last year on that very subject. (The hinted at relationship was the only good thing about the film IMHO.)
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Thanks for reading my post. What film did you see that wasn’t very good?
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“Fools for Scandal” with Carole Lombard (Here’s the link to my thoughts on it, if you’re interested 😉 bit.ly/1KkPD1b)
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Hi Bonnie – I’ve never cared for “Fools for Scandal” and I never thought I’d like anyone less than I liked Lee Bowman, but Gravet comes in a good close second. Apparently I didn’t pay attention to all aspects of this movie because the storyline with the two women escaped me. You’ve now given me a hook in which to check this movie out again. There are none so blind as those who cannot see. Thanks for the eye-opener. 🙂
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Terrific article; informative, engaging and entertaining as always!
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Hi there Marvin. I’d hope it was an easy-breezy read. Thanks again for your support. I appreciate it. Still waitin’ on an essay from YOU! Come on. Quit stalling.
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Very interesting post and view on the subject pal. Good work! And I am with you all the way Re. Desert Fury. I wonder how it passed the censors back then.
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I just LOVE “Desert Fury.” I know sometimes censors are dumb clucks…but I wonder if Wendell Corey KNEW what he was getting at. Great cast all around. You know I love Lizabeth, but what can I say about Mary Astor that hasn’t already been said?
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Good and thoughtful post. I’m often obtuse about subtext when watching classic film, having spent so many decades being shielded by the code, I sometimes have a hard time looking past it. Thanks for highlighting what should be obvious to me by now.
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Sub-text, schmub-text. I only have my own crackpot theories Debbie. Whatever we see and get out of these great old classics is all valid. I thank you for taking the time out to give it a read, and making a comment. Thank you very much.
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Mary Astor had such a range and was so good always. She’s part of the cast of most of my fave films: Dodsworth, Midnight, Palm Beach Story and her contributions to them are pivotal. She was a natural, talented, unaffected pro.
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You know I love Mary, Feaito. And I see her range. How could the same woman who plays a Mom in “Little Women” be the Brigid O’Shaughnessy in “The Maltese Falcon.” How could that ditzy breezy heiress in “The Palm Beach Story” be the same barfly in “Act Of Violence”? Mary Astor, Master Chameleon.
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Fun and stylishly told article.
I love getting lost in the convoluted relationships in “Warlock”. Sometimes the Morgan and Blaisedell relationship jumps right out at me, and sometimes Dorothy Malone’s Lily gets in the way. I think maybe they wanted it that way. Keep the viewer on their toes. That’s fine. I’m willing to play.
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Boy am I EVER on my toes with THIS one. It’s all good, this Western. There are many lessons in “Warlock” that I take away. I particularly liked Richard Widmark’s story…trying to change the group he was involved with. But count me a Dorothy Malone fan. Thanks again for reading.
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Nicely done. No Johnny guitar
? Or did I miss something?
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Holy cow! “Johnny Guitar.” HOW did I even miss that one. There was some tension there alright. I love the face off between Crawford and McCambridge. Thanks again for checking out my blog, Rob.
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Really enjoyed the post. You cover a variety of great examples. And a thousand thanks for linking my post!
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You’re very welcome. The examples on your post showed me I wasn’t ( so ) crazy. 🙂
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You’re on target 100%. First, the innuendo is there even when the literal statements of homosexuality are not. Second, it’s about perspective. We view films from our own perspectives, and I see queerness often!
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Ahhhhh…I see, said the blind man. L0L! TCM needs to show “Desert Fury” at their next film festival then…STAT!
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One movie you didn’t mention that I’ve always thought fit into the “Wingman” category that you’ve described, although I’ve never articulated it the way you have, is Van Heflin’s character in Johnny Eager, a performance that won Heflin an Oscar.
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Ahhhhh, Van Heflin. Good call with “Johnny Eager“ Robin. He did a wonderful job. I had to work my way towards liking him, I mean really liking him. “Possessed” ( which you’ve got to read the write-up Aurora wrote here in a very good write-up ), “Madame Bovary” “3:10 to Yuma” my favorite “The Strange Love of Martha Ivers“…
Heflin was the conscience of Robert Taylor in “Johnny Eager” but you know there was a little bit of, how-you-say… hero worship in there too. He loved Johnny. Thanxxx for bringing that to mind.
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Great article, Theresa! Ohhhh, and I thought of one: BABY FACE! I love when Barbara Stanwyck and Theresa Harris’ characters, Lily and Chico, are alone together, they are equals and seem to be a bit more than just friends. https://www.pinterest.com/pin/131800726568351637/
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Take a look at how Barbara saves Theresa in this deleted scene: https://youtu.be/wTt-EsHbG80
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This scene was deleted? I seem to have seen this moment in the movie. Look at Stany, making a great “sacrifice” to get them a ride on the rails. L0L! Thanks for pointing this out, Kelly. 🙂
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Hi Kelly…thanks for reading. “BABY FACE.” Ha The film that broke the pre-code code. They were close. What seems okay to me these days, probably looked so strange to people 84 years ago. Gee!
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