Spiderman
Director: Sam Raimi
Writers: David Koepp. Based upon the Marvel Comics by Stan Lee and Steve Ditko.
Cast: Tobey Maguire, Willem Dafoe, Kirsten Dunst, James Franco, Cliff Robertson, Rosemary Harris, J.K. Simmons
Overview
Sam Raimis' first Spiderman movie represents the perfect summer flick. It is big, bold, and comes with some rather interesting queer subtexts.
Synopsis
When Peter Parker (Tobey Maguire) is bitten by a genetically engineered spider, he becomes a superhuman with powers resembling those of an arachnid. At first, Peter attempts to use his powers for selfish ends, but when his beloved uncle Ben Parker (Cliff Robertson) is murdered, he decides (in the grand tradition of superheros everywhere) to fight for the greater good. Unfortunately, while Peter Parker is becoming Spiderman, Norman Osborn (William Dafoe) is turning into the psychotic Green Goblin and his plans do not include allowing Spiderman to continue fighting evil.
The Queering
Spiderman to me is the best example of a "pure" summer flick one could hope to find. The action sequences are big and bold and the characters larger than life. There is humor and a nicely developed straight romance. Tobey Maguire was the perfect choice to play the famous web slinger and the ending even manages to generate some legitimate pathos.
Admittedly, Spiderman is a 100% heteronormative film on the surface. Peter spends a lot of time longing over Mary Jane (Kristen Dunst) while she gets romanced by his best friend Harry Osborne (James Franco). The opening lines include "But let me assure you, this story, like any story worth telling, is all about a girl. That girl. Mary-Jane Watson. The girl I loved since before I even liked girls." Peter even taunts one of his opponents with the line, "That's a cute outfit. Did your husband give it to you?"
But once you delve beneath the surface, there are more than a few interesting subtexts swinging around. For starters, there is something more than a little queer about a guy who dresses up in spandex, running around the city of New York at night. Then there is the need for superheros, in general, to have a secret identity, much like the way queers must hide their sexuality or gender identity in the closet.
I could also put this in the context of the Isophyls - when Spiderman is nearly arrested after saving a baby from a burning building, my thoughts immediately went to Alan Turing. As the Green Goblin says to Spiderman "Well, to each his own. I chose my path, you chose the way of the hero. And they found you amusing for a while, the people of this city. But the one thing they love more than a hero is to see a hero fail, fall, die trying. In spite of everything you've done for them, eventually they will hate you. Why bother?"
In a more general sense, there is a connection between Peter Parkers' conversion to Spiderman and the onset of puberty. One scene has Peter acting like he just got caught masturbating by his Aunt May, when he had in fact been testing out his newly acquired web slinging abilities.
On the other side of the spectrum is Norman Osborne, who takes an immediate and strong liking to Peter. While their relationship can be read in the context of father and son, once Norman becomes the Green Goblin, there is a certain seduction to the way the Green Goblin attempts to convert Peter to evil. It is also possible to read the emergence of the Green Goblin personality as the result of Norman repressing his gay urges. During one attack as the Green Goblin, he yells out to the board members that had just fired him, "OUT, AM I?" Then there is the fact that Norman never considers the possibility that Peter might be in love with a girl until Harry tells Norman that Peter is in love with Mary Jane; the first female loved one of Peter that the Green Goblin attacks is Aunt May.
Recommendation
Worth hacking through at least a few spider webs to see.
The Rating
*** out of ****
Trailer
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Showing posts with label Coded gay. Show all posts
Showing posts with label Coded gay. Show all posts
November 3, 2012
May 8, 2011
Queer Review: Reflections in a Golden Eye (1967)
Reflections in a Golden Eye
Director: John Huston
Writers: Chapman Mortimer and Gladys Hill. Based on the novel by Carson McCullers.
Cast: Elizabeth Taylor, Marlon Brando, Brian Keith, Robert Forster, Julie Harris, Zorro David
Overview
Sexual obsession, longing, and perversion come together in this tale about a repressed gay military officer, Weldon Penderton (Marlon Brando).
Synopsis
Major Weldon Penderton is an effeminate officer, whose wife Leonora Penderton (Elizabeth Taylor) is having an affair with Lt. Col. Morris Langdon (Brian Keith). Landon's wife Allison (Julie Harris), on the other hand, is suffering from a mental illness that keeps her indoors where she finds solace in the antics of another effeminate male, her servant Anacleto (Zorro David). When Major Weldon Penderton spots Pvt. L.G. Williams (Robert Forster) outside doing some naked horseback riding, Penderton becomes obsessed with him, while at the same time, Williams is also becoming obsessed with Lenora and begins to stalk her.
The Queering
Honestly, I am not sure what to make of this movie. There is a lot going on beneath the surface of each character, but I did not find myself enthralled trying to figure out the boiling emotions that must be going on deep down within each of them. While I have come across a few reviewers who have referred to Reflections in a Golden Eye as a classic, I have to say that it appears to me that it must not have aged well over the years.
It is clear to me that the filmmakers were trying to make a more mature/adult film and for the time period, Reflections probably was. However, to me, much of what the film was trying to say felt facile. I get that the Hays Code, which was on it's last legs at the time that Reflections was released, would have prevented open acknowledgement of Penderton's sexual orientation, but the film still treats being gay as a pathological disease. There is something unsettling about Penderton's obsession with Pvt. Williams and the character comes across as a creepy lowlife. I was somewhat shocked that Penderton was not killed off at the end, which is what the Hays Code would have dictated. I can only assume that the lack of punishment at the end for Penderton, was a sign of the Hays Code's waning influence.
Now supposedly Marlon Brando was the greatest actor of his generation, so it's unfortunate that he does nothing to show that here. Rather, in Reflections in a Golden Eye, Brando tend s to come across as an overlarge ham. Elizabeth Taylor fares a little better as a superficial army brat and I would say she gives the best performance of the film. No one else does that badly but, other than Taylor, there are no stand out performances.
On the whole, the movie appears more concerned with shallow gimmicks than with trying to make any kind of interesting insight into human nature. The golden infused cinematography is one example of this. In the end there is very little to keep me from labeling Reflections in a Golden Eye as both deadly boring and highly pretentious. Keeping the eyes open so they can continue to reflect the golden imagery will ultimately be a chore for most people.
Recommendation
Recommended only for those with a strong interest in older movies with queer subtexts, there is not much here for anybody else.
The Rating
Trailer
Want to find a review of a particular work? Check out the Title Index, the archive of all reviews posted listed alphabetically.
Director: John Huston
Writers: Chapman Mortimer and Gladys Hill. Based on the novel by Carson McCullers.
Cast: Elizabeth Taylor, Marlon Brando, Brian Keith, Robert Forster, Julie Harris, Zorro David
Overview
Sexual obsession, longing, and perversion come together in this tale about a repressed gay military officer, Weldon Penderton (Marlon Brando).
Synopsis
Major Weldon Penderton is an effeminate officer, whose wife Leonora Penderton (Elizabeth Taylor) is having an affair with Lt. Col. Morris Langdon (Brian Keith). Landon's wife Allison (Julie Harris), on the other hand, is suffering from a mental illness that keeps her indoors where she finds solace in the antics of another effeminate male, her servant Anacleto (Zorro David). When Major Weldon Penderton spots Pvt. L.G. Williams (Robert Forster) outside doing some naked horseback riding, Penderton becomes obsessed with him, while at the same time, Williams is also becoming obsessed with Lenora and begins to stalk her.
The Queering
Honestly, I am not sure what to make of this movie. There is a lot going on beneath the surface of each character, but I did not find myself enthralled trying to figure out the boiling emotions that must be going on deep down within each of them. While I have come across a few reviewers who have referred to Reflections in a Golden Eye as a classic, I have to say that it appears to me that it must not have aged well over the years.
It is clear to me that the filmmakers were trying to make a more mature/adult film and for the time period, Reflections probably was. However, to me, much of what the film was trying to say felt facile. I get that the Hays Code, which was on it's last legs at the time that Reflections was released, would have prevented open acknowledgement of Penderton's sexual orientation, but the film still treats being gay as a pathological disease. There is something unsettling about Penderton's obsession with Pvt. Williams and the character comes across as a creepy lowlife. I was somewhat shocked that Penderton was not killed off at the end, which is what the Hays Code would have dictated. I can only assume that the lack of punishment at the end for Penderton, was a sign of the Hays Code's waning influence.
Now supposedly Marlon Brando was the greatest actor of his generation, so it's unfortunate that he does nothing to show that here. Rather, in Reflections in a Golden Eye, Brando tend s to come across as an overlarge ham. Elizabeth Taylor fares a little better as a superficial army brat and I would say she gives the best performance of the film. No one else does that badly but, other than Taylor, there are no stand out performances.
On the whole, the movie appears more concerned with shallow gimmicks than with trying to make any kind of interesting insight into human nature. The golden infused cinematography is one example of this. In the end there is very little to keep me from labeling Reflections in a Golden Eye as both deadly boring and highly pretentious. Keeping the eyes open so they can continue to reflect the golden imagery will ultimately be a chore for most people.
Recommendation
Recommended only for those with a strong interest in older movies with queer subtexts, there is not much here for anybody else.
The Rating
Trailer
Want to find a review of a particular work? Check out the Title Index, the archive of all reviews posted listed alphabetically.
April 22, 2011
Queer Review: A Walk on the Wild Side (1962)
A Walk on the Wild Side
Director: Edward Dmytryk
Writers: John Fante, Edmund Morris, and Ben Hecht. Based on the novel by Nelson Algren.
Cast: Laurence Harvey, Capucine, Jane Fonda, Barbara Stanwyck, Anne Baxter
Overview
A sudsy melodrama about lost souls from the seedier parts of this world, A Walk on the Wild Side attempts to tell a tale of sin, longing, and regret. However, the melodramatic elements are overdone and the watering down of the racier elements of the novel in order to conform to the Hays Code cause the production to collapse faster than levees before hurricane Katrina.
Synopsis
Set during the depression in the 1930's, the story opens with Dove Linkhorn (Laurence Harvey) on his way to New Orleans to search for his lost love Hallie Gerard (Capucine). At the beginning Dove meets Kitty Twist (Jane Fonda) a rough around the edges drifter who teaches him how to ride the trains and other survival skills. However, they soon end up parting ways when Dove catches Kitty stealing from cafe owner Teresina Vidaverri (Anne Baxter). Now trusting Dove as he returned her jewlery, Teresina offers to help Dove in his quest. Dove soon finds Hallie, who is now working at a brothel called The Dollhouse run by Jo Courtney (Barbara Stanwyck). The problem though is that Jo is the possessive type and will not let her most popular prostitute leave easily.
The Queering
The most interesting element in Walk on the Wild Side is the coded lesbian relationship between Jo and Hallie. It is never explicitly stated but there are several scenes that suggest the reason Jo will not let Hallie be with Dove is not the money Hallie makes for The Dollhouse, but because Jo's interest turned to Hallie after her husband was disabled in an accident. Jo's husband is clearly eager to see Hallie exit and in one scene Jo asks Hallie not to continue to service The Dollhouse clientile.
However, Walk on the Wild Side was made at the wrong time. The novel by Nelson Algrenthat the film was based upon appears, based upon the research I did, to be a lot grittier than the film and more character driven. The film itself suffers too much from over simplification and bending over backwards to satisfy the Hays Code. The fact is that the Hays Code required criminals and those who engaged in sexual perversion to be punished either by going to jail ending up dead. Considering this, the death of a key character that causes the film to end on a sour note should not come as a surprise to anyone.
I believe that if Walk on the Wild Side had been made several years later, that is after the Hays Code had been abolished, there might have been a powerful film made from this material. As it is, between the cheesy dialog and watered down dramatic elements it's difficult to find anything to admire. Most of the acting is not terrible but not great either. Although, I must admit Barbara Stanwyck's performance as Jo is brilliantly fierce, while managing to subtle suggest the increasing fear and jealousy her character feels towards Dove. This is a woman I would not want to cross.
Recommendation
All things considered, there's not a lot here to recommend. Only those completists interested in seeing any film with queer themes, no matter how coded or potentially offensive, will have any reason take a Walk on the Wild Side
The Rating
Want to find a review of a particular work? Check out the Title Index, the archive of all reviews posted listed alphabetically.
Director: Edward Dmytryk
Writers: John Fante, Edmund Morris, and Ben Hecht. Based on the novel by Nelson Algren.
Cast: Laurence Harvey, Capucine, Jane Fonda, Barbara Stanwyck, Anne Baxter
Overview
A sudsy melodrama about lost souls from the seedier parts of this world, A Walk on the Wild Side attempts to tell a tale of sin, longing, and regret. However, the melodramatic elements are overdone and the watering down of the racier elements of the novel in order to conform to the Hays Code cause the production to collapse faster than levees before hurricane Katrina.
Synopsis
Set during the depression in the 1930's, the story opens with Dove Linkhorn (Laurence Harvey) on his way to New Orleans to search for his lost love Hallie Gerard (Capucine). At the beginning Dove meets Kitty Twist (Jane Fonda) a rough around the edges drifter who teaches him how to ride the trains and other survival skills. However, they soon end up parting ways when Dove catches Kitty stealing from cafe owner Teresina Vidaverri (Anne Baxter). Now trusting Dove as he returned her jewlery, Teresina offers to help Dove in his quest. Dove soon finds Hallie, who is now working at a brothel called The Dollhouse run by Jo Courtney (Barbara Stanwyck). The problem though is that Jo is the possessive type and will not let her most popular prostitute leave easily.
The Queering
The most interesting element in Walk on the Wild Side is the coded lesbian relationship between Jo and Hallie. It is never explicitly stated but there are several scenes that suggest the reason Jo will not let Hallie be with Dove is not the money Hallie makes for The Dollhouse, but because Jo's interest turned to Hallie after her husband was disabled in an accident. Jo's husband is clearly eager to see Hallie exit and in one scene Jo asks Hallie not to continue to service The Dollhouse clientile.
However, Walk on the Wild Side was made at the wrong time. The novel by Nelson Algrenthat the film was based upon appears, based upon the research I did, to be a lot grittier than the film and more character driven. The film itself suffers too much from over simplification and bending over backwards to satisfy the Hays Code. The fact is that the Hays Code required criminals and those who engaged in sexual perversion to be punished either by going to jail ending up dead. Considering this, the death of a key character that causes the film to end on a sour note should not come as a surprise to anyone.
I believe that if Walk on the Wild Side had been made several years later, that is after the Hays Code had been abolished, there might have been a powerful film made from this material. As it is, between the cheesy dialog and watered down dramatic elements it's difficult to find anything to admire. Most of the acting is not terrible but not great either. Although, I must admit Barbara Stanwyck's performance as Jo is brilliantly fierce, while managing to subtle suggest the increasing fear and jealousy her character feels towards Dove. This is a woman I would not want to cross.
Recommendation
All things considered, there's not a lot here to recommend. Only those completists interested in seeing any film with queer themes, no matter how coded or potentially offensive, will have any reason take a Walk on the Wild Side
The Rating
Want to find a review of a particular work? Check out the Title Index, the archive of all reviews posted listed alphabetically.
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