Queer Review: Outrage (2009)

Outrage
Director: Kirby Dick
Writer: Kirby Dick
Cast: Tony Kushner, Barney Frank, Larry Kramer, Andrew Sullivan, Dina Matos McGreevey, James McGreevey, Dina Matos, Mike Rogers

Overview
Kirby Dick's documentary about closeted gay politicians and the hypocrisy of those who engage in political agendas that are bigoted and damaging to our community, is paradoxically extremely detailed and well researched, yet still feels like it's only skimming over the more compelling aspects of the situation.

Synopsis
Outrage tackles the controversial issue of closeted politicians who have been outed and who engaged in anti-gay political agendas. Some attention is also paid to the social and political forces that lead to so many politicians being in the closet while being virulently homophobic and the damage done by those same political leaders.

The Queering
I do not want to be the hater here as I believe that Kirby Dick's motives are pure, but the major flaw with Outrage is that he is not presenting any new or particularly shocking information here. There is nothing that will shock anybody who pays the slightest bit of attention to the news, but any attempt to inform people about a well known phenomenon seems, well, somewhat pointless to me.

That is not to say there is some worthwhile material here, just that it feels like most of what is covered can be gleaned from reading headlines. Very rarely does Kirby Dick peel back the layers to reveal deeper insights. What I would consider worthwhile material here includes a segment where Dina Matos - the wife of James McGreevy, the former governor of New Jersey who resigned after coming out - tearfully explains how much it hurt to have been deceived by her husband. An analysis of the damage caused by closeted politicians, particularly with regards to the AIDS crisis, also makes for compelling viewing.

However, the attempts to explain why closeted politicians are also the most homophobic will be familiar to anyone who has studied the work of Sigmund Freud. The only way that part could have been made interesting would be if Kirby Dick had summoned the ghost of Freud to deliver it.

Ultimately, the medium used to deliver the message can sometimes be just as important as the message itself and I would argue that the material here would be better suited for a blog. It is no surprise then, that Outrage draws heavily from the blog BlogActive by Michael Rogers, who is featured in Outrage.

Like I said though, I do not wish to be the bad guy here. The subject matter alone warrants additional media coverage and analysis beyond what mainstream outlets have afforded this issue. It's just that I tend to demand more from feature films then what is delivered by Outrage.

Recommendation
Outrage gives viewers plenty of reasons to get outraged at the situation, but not quite enough reasons for those who pay attention to the news to actually seek it out. Unless one has been living under a rock, there's little new or substantially interesting information here to justify an unqualified recommendation.

The Rating

Trailer



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Queer Review: The Outlaw (1943)

The Outlaw
Directors: Howard Hughes, Howard Hawks
Writers: Jules Furthman, Howard Hawks, Ben Hecht
Cast: Jack Buetel, Jane Russell, Thomas Mitchell, Walter Huston, Mimi Aguglia, Joe Sawyer, Gene Rizzi

Overview
Howard Hughes' The Outlaw features the legendary wild west gunslingers Billy the Kid and Doc Holliday, alongside Sheriff Pat Garrett. It caused the Hays Code Censors quite a bit of trouble, thanks to Russell's cleavage and Hughes had to create a media stir just to get the film released. Jane Russell's career was launched with The Outlaw thanks to all of the hubub caused by her breasts. However the most interesting element is the homoerotic subtext between Pat Garrett, Doc Holliday and Billy the Kid.

Synopsis
When Doc Holliday (Walter Huston) arrives in town searching for his stolen horse, he finds his old friend, and newly appointed Sheriff, Pat Garett (Thomas Mitchell), along with his horse in the possession of Billy the Kid (Jack Buetel). Surprisingly, Doc takes an immediate liking to Billy, much to the chagrin of Pat. When Billy later kills a man and is shot by Pat as a result, Doc comes to Billy's rescue and leaves Billy in the care of his girlfriend, the beautiful and sensuous Rio (Jane Russell). It is not long however, before Pat catches up with the two outlaws, setting up a final showdown between Pat, Billy, and Doc.

The Queering
It is easy to see why this film caused the stir it did upon first release. Jane Russell's bosom's push against a lot more than the proverbial envelope and the dialogue is loaded with double entrende's so thick, that even the most experienced wordsmith would choke before committing them to paper.

However, that all pales in comparison to the jilted triangle that develops between Doc holiday, Billy the Kid, and Pat Garrison. Rio is supposedly the woman that comes between the Doc and Billy, but Pat more often plays the part of the scorned lover. The Sheriff Pat spends more of the movie competing for the affections of Doc, who only has eyes for Billy, then Doc does pining for Rio while she tries to ensnare Billy, who never shows any interest in her. Further hints of homoerotic desires among the three male leads include actual physical contact. When Doc first meets Pat, the outlaw can hardly keep his hands off the Sheriff. Throughout the movie, Billy and Doc keep reaching into each other's shirt pockets to exchange a tobacco pouch and at the conclusion they both hold hands briefly. Not to mention, the showdown that proceeded the hand holding is rife with sexual tension as Billy must make a choice about what is really important to him.

Unfortunately, this means that Rio herself is treated mostly like a prop whose purpose is to either show some distracting cleavage or to serve some need of the script. She usually ends up playing second fiddle to the stolen horse in terms of the priorities of either Doc Holiday or Billy the Kid. More disturbing though, are the borderline misogynistic statements from Doc or Billy whenever they try to explain to each other their lack of interest in woman.

Overall, I must say that The Outlaw is not a terribly good movie. The acting is pretty bad, with Jack Beutel appearing to be in some sort of "Greatest Wooden Actor" contest. There are also issues with the editing and the cinematography is a little odd at times. There was one moment that I want to say was an issue with Netflix streaming where during the climax, the film looped back and repeated a minute or two of dialogue, but given the technical competency shown up to that point, could have been a mistake from the original film.

On the plus side, the sequence with Indians chasing the band of heroes across the plain manages to generate some suspense. Of course this sequence is somewhat racist and historically inaccurate, but until Dances With Wolves came along, nearly every western made in Hollywood was. Also, it's interesting to note that the movie sets up a feud between Sheriff Pat Garrison and Billy the Kid, one that can only end in murder. For those who don't know, Garrison is believed to have been the individual who was responsible for the death of Billy the Kid, although The Outlaw's connection with history is often so tenous, it would not take much more force then the breeze needed to blow a tumble weed to sever it entirely.

Recommendation
The Outlaw may not have been deserved to have been outlawed by the Hays Code, but it's also not worth seeking out, other than for those with an interest in movies with queer or homoerotic subtexts.

The Rating

Trailer


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Classic Review: King Kong (1933)

King Kong
Directors: Merian C. Cooper, Ernest B. Schoedsack
Writers: James Ashmore Creelman, Ruth Rose, Merian C. Cooper, Edgar Wallace, Merian C. Cooper, Leon Gordon, Edgar Wallace
Cast: Fay Wray, Robert Armstrong, Bruce Cabot, Frank Reicher, Noble Johnson, Sam Hardy

Overview
King Kong towers amongst the greatest movies of all time, a parable of the consequences of hubris run amok. According to my dad, King Kong was also my grandfather's favourite movies. Obviously, grandpa had good taste in film.

Synopsis
Huckster film director, Carl Denham (Robert Armstrong) has managed to obtain a map which shows the location of the mysterious Skull Island, a land shrouded by myth. When he is unable to find a female lead to star in the movie he wants to make on the islond, he turns in desperation to Ann Darrow (Fay Wray), a poor woman he finds while she's in the process of trying to steal an apple. While Ann is initially reluctant, Denham convinces her to come with him on the voyage to the island. When the Denham and the film crew arrive on the Skull Island, they find the natives preparing a sacrifice for their god, Kong, a giant ape who lives on the island. Later, after the film crew has returned to the boat, the natives kidnap Ann to use her as the sacrifice instead. What follows is a thrilling adventure through Skull Island as the crew try to rescue Ann from the giant ape, while he battles many of the fantastic creatures native to the island. Denham eventually manages to capture Kong and transport him to New York City, where Kong will make cinematic history.

The Queering
King Kong is an obvious allegory about humanity's destruction of the natural world. On Skull Island, Kong is a feared god. Once within the realm of the civilized world, he is reduced to a pathetic curiosity and even when he attempts to ascend the Empire State building, he is still easily put down by man's technological prowess. The Empire State building here serves as a symbol of man's dominance that no beast can challenge.

Surprisingly enough, the special effects work holds up well today, outside of a few close ups of Kong's face, that I found jarringly comical. The effects work in King Kong represent many painstaking hours of stop motion manipulation of miniature figures. From the scenes where Kong first appears to his battles with the mythic beasts on Skull Island and final stand on the tallest building in the world, there is a magic that no CGI can even attempt to replicate.

The acting however, is just bad, which causes the early scenes building up to the arrival on Skull Island to drag a bit. It's also hard not to notice the underlying racism inherent in several scenes, particular concerning the presentation of the human natives of Skull Island. During one scene, a character even refers to the "n***** races". Even Peter Jackson's remake struggled with this aspect of the story and not entirely successfully either I might add.

Criticism aside, once the crew lands on the island, the film gains a momentum as unstoppable as it's rampaging star. The battles Kong engages in with various dinosaurs, while Denham and company attempt capture him are the stuff legends and myths are made of.

Of course, a few words must be spared for the relationship between Kong and Ann Darrow. It is clear that once Kong meets Ann, he is a changed beast. Or if the opening Arabian Proverb that Merian C. Cooper wrote, is correct, Kong is "as one dead". There are many different ways to interpret the Ann/Kong dynamic. One can see them as a gentle woman and her uncivilized lover. On the other hand, with Kong's massive size, Ann is almost like a pet who he must protect and she must obey, thereby switching around the usual human/animal relationship dynamic.

At the end of the day, King Kong is not just another antiquated monster flick. It is the grandaddy of all monster movies that came after it, it's shadow stretching longer then the Empire State building over all those that followed in it's immense wake.

Recommendation
Strongly recommended. Kong is King for a reason.

The Rating

Trailer


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Off topic

Something many of us have suspected for some time now, I'm sure:


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Queer Review: Entertaining Mr. Sloane (1970)

Entertaining Mr. Sloane
Director: Douglas Hickox
Writers: Clive Exton. Based upon the play by Joe Orton.
Cast: Beryl Reid, Harry Andrews, Peter McEnery, Alan Webb

Overview
As dark comedies go, Entertaining Mr. Sloane is a well done British confection. The best parts are the interesting cinematography and the low key, yet rather brilliant performances.

Synopsis
When we first meet the mysterious Mr. Sloane (Peter McEnery), he's doing situps in a graveyard. While some might consider this a warning sign, Kath (Beryl Reid) decides to take him in and put him up as a boarder. This plan is objected to by her father (Alan Webb) who recognizes Mr. Sloane as the individual who murdered his former boss. Kath's brother, Ed (Harry Andrews), also objects at first, but he too is quickly taken in by Mr. Sloane and even goes so far as to hire the strange man as a chauffeur.

The Queering
I would guess that Entertaining Mr. Sloane was inspired by the Ealing Comedies of the 1950's and 40's as the tone here is remarkably similar to many of their the movies such as Kind Hearts and Coronets and The Ladykillers. In any case, those who enjoyed the Ealing Studio comedies will find much to appreciate here as well.

Entertaining Mr. Sloane was first a play by Joe Orton, but one would probably never guess the movie's theatrical origins thanks to some imaginative camerawork and a brisk plot. There is also some great acting by all of the leads. Beryl Reid plays the ditzy Kath with aplomb. There are a couple of scenes where Reid manages to suggest that Kath is actually smarter then she appears and that she is simply playing dumb to manipulate the male characters. As Mr. Sloane, Peter McEnery makes the perfect smarmy bastard. Harry Andrews' is perfect as Ed, the uptight closeted gay British Gentlemen who drives a pink Cadillac.

Speaking of Ed, due to the standards of the day, outside of the ending, there are no scenes where his sexuality is stated. Although there are a few clever bits of highly suggestive dialogue between him and Mr. Sloane that make Ed's sexuality clear as day, without being explicit.

The ending by the way, has been given in every description of Entertaining Mr. Sloane that I have read. Not sure why that is, other than to say it is not much of an issue as most of the fun is getting there. Suspense is never much of an issue, outside of a couple of points here and there, as much of what happens is fairly predictable. But for people who are paranoid of spoilers, be warned when reading anything about this movie.

Recommendation
Recommended, this is a movie that will be entertaining for anybody who sees it, not just Mr. Sloane.

The Rating

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Queer Issue: New J. Edgar Hoover Biopic Will Make Former FBI Director Gay.

I came across this recently on Bilerico, and apparently there will be a film that will make the former FBI director gay. Currently Clint Eastwood is attached to direct and Leonardo DiCaprio, Judi Dench, and Arnie Hammer are going to be starring it. Dustin Lance Black is the screenwriter.

I actually have a problem about this. I've written before about how Hollywood will straighten out anything it can get it's hands on. The thing is, this situation the exact opposite, as there is very little substantial evidence that Hoover is actually gay or into crossdressing. Susan Rosenstiel, the one who originally claimed to have witnessed Hoover wearing a dress, served time for perjuring herself and had established motivation for defaming Hoover. Furthermore, the relationship Hoover had with Clyde Tolson has been speculated that it was romantic/sexual in nature, but there is no hard evidence that their relationship was anything but that of close friends.

Here's why I have a problem. With all the well known queer historical figures who have made significant and positive contributions to society, why focus on on an individual where the evidence is not exactly beyond a shadow of reasonable doubt and whose contributions to America consisted of aggressively persecution non-criminal groups and individuals such as Martin Luther King Jr. He also actively denied the existence of the Mafia and organized crime.

In short, what I want is a movie about actual legitimate queer historical figures, such as Sylvia Rivera, Bayard Rustin, Ruth C. Ellis, Alan Turing, or Harry Hay, Socrates, Plato, Solon of Athens, Michel Foucault, or James Dean. There are ultimately so many to choose from, that I fail to see the point of a movie about a historical figure who in all probability was not gay at all.

Queer Review: The Gay Deceivers (1969)

The Gay Deceivers
Director: Bruce Kessler
Writers: Abe Polsky, Gil Lasky, and Jerome Wish.
Cast: Kevin Coughlin, Lawrence P. Casey, Michael Greer, Jack Starrett, Sebastian Brook, Brooke Bundy, Jo Ann Harris,

Overview
Taken in the right context, The Gay Deceivers is a decent enough movie about two straight guys who pretend to be queer in order to be avoid being drafted and forced to fight in Vietnam.

Synopsis
Danny Devlin (Kevin Coughlin) and his friend Elliot Crane (Lawrence P. Casey) decide that rather than be drafted into the army, they would rather pretend to be gay. But when Colonel Dixon (Jack Starrett) becomes suspicious, they are forced to take the ruse even further or risk being found out. So they move in with each other in a nice cottage owned by a flamboyant gay couple, Malcom (Michael Greer) and Craig (Sebastian Brook). Things take a turn for the worse when Danny's family starts to become suspicious that he really is gay and Mr. Devlin (Richard Webb) even goes so far as to have Elliot fired from his lifeguarding job.

The Queering
Context is everything and if The Gay Deceivers were to be made today, I do not know what sort of reception it would get. Back in 1969, the film was protested by gay activists for it's presentation of gays as effeminate. Today, after having to endure the indignities of Cruising and I Now Pronounce You Chuck and Larry, I found The Gay Deceivers to be relatively harmless.

In fact, in many ways The Gay Deceivers is fairly quaint in it's depiction of gay men and while much of it's value derives from the historical perspective it provides, I found myself enjoying this much more than I had expected given the premise. Granted, Malcolm and Craig are drawn using the broadest of caricature, but they are presented with just enough dignity to avoid becoming ugly stereotypes. In particular, Michael Greer, who gives the best performance in the film, manages the difficult task of making Malcolm feel like a flesh and blood human, in spite of the difficulties given to that task by the screenplay.

In any case, while I would be the last to argue that The Gay Deceivers is a paragon of brilliant writing, there are enough clever moments and minor twists peppered throughout to keep things interesting. Plus we are spared the speeches and grandstanding that plagued I Now Pronounce You Chuck and Larry, whose premise is remarkably similar in many ways to The Gay Deceivers.

I found one of the of the strengths of this film is that it makes a subtle point of the difficulties faced by gay men in the late sixties. Granted, we are spared the true horrors of what went on back then, but by having Elliot fired simply for being gay, The Gay Deceivers provides a lesson that is worth a thousand grandstanding speeches.

Recommendation
While not really gay or terribly deceptive, I thought The Gay Decievers was an enjoyable bit of movie history and since it was fairly progressive for the time period, I feel comfortable offering a recommendation for anyone regardless of whether or not they have a strong interest in the history of queer cinema.

The Rating

Trailer


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