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Authentic South b North Indian Cuisine
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Lewin's faithful 1945 adaptation of Oscar
Wilde’s queer fable The Picture of Dorian Gray,
both MacLaine’s terminally desperate lesbian
celibate in The Children’s Hour and Claire
Bloom’s “beautiful and sophisticated”
Greenwich Village lesbian in Robert Wise’s
1963 version of The Haunting.
“I think it’s important, historically and
culturally, to note the whole range of
portrayals, be they critical or affectionate,
condescending or empowering, and 1 think
all those things can be seen in many of these
1946 s Gilda features the every-which-way romantic
films,” Barrios explains. “There’s as much to
triangle of Rita Hayworth, at her most electrifying,
learn from the dogs as from the gems, some
plus Glenn Ford and George Macready.
times more!”
There’s even a whole night devoted to films
Barrios notes the ongoing tension between
exploring in various ways that same-sex tension
regressive and progressive attitudes toward queer
can arise behind bars, includingCaged (1950), “the
ness in the cinema, which has continued well past
ultimate women’s prison melodrama," and The
the immediately post-Stonewall moment where
Strange One (1957), with a young Ben Gazzara as
Screened Out leaves off, into the present. “You get
the head of a military academy and the object of something like Brokeback Mountain, which most
a male underling’s crush. (Among the few films
people felt to be a major step forward...and then
Barrios wanted for the series but was unable to
you’re confronted with Wild Hogs, with stupid gay
obtain are Alfred Hitchcock’s Rope and The Sergeant,
jokes and caricatures.”
a 1968 film with Rod Steiger as a repressed and con
When asked whether he sees, overall, a trend
flicted gay commanding officer.)
toward progress for queers in film, Barrios demurs:
As a queer film historian, Barrios acknowledges
“Seeing how this negativity [toward queers] contin
the trailblazing of the late Vito Russo, whose book
ues even tixlay is, I think, one of the most impor
The Celluloid Closet (and the much later documen
tant reasons to see these films [in Screened Out].
tary of the same title) was undoubtedly the first pop You see something like The Children’s Hour, made
ular queer-centric study of film as it relates to sexual
more than 45 years ago, and realize that we have
minorities: “Of course, without The Celluloid Closet,
not had a near-half-century of [uninterrupted]
my work would not have been possible,” he says.
social progress since then. So I think it’s necessary
Nevertheless, Barrios’ approach, as demonstrat
to see these films to not only chart how far we’ve
ed by the inclusiveness of Screened Out, has a some come, but how far we—and 1 mean all of us—have
yet to go.” ©
what different emphasis than Russo’s sometimes
doctrinaire demand for positive, celebratory queer
celluloid images. The series includes such Celluloid
Turner Classic Movies presents SCREENED OUT:
Closet targets as 1961 ’s The Children’s Hour, with
G ay IMAGES IN F ilm every Monday and Wednesday
Shirley MacLaine as a schtxil teacher tormented by
in June. For a complete schedule visit www.tcm.com.
her love for her colleague, Audrey Hepburn, and
the Tennessee Williams-penned Suddenly, Last
C hristopher M c Q uain is a Seattle freelance
Summer, with Elizabeth Taylor and Montgomery
writer.
Clift.
“It’s gixxl to take note of the time
when [RussoJ was writing The Celluloid
Closet— the early '80s, coming off a ridicu
lously injurious era of gay representation
in American films,” Barrios says. “That
was the immediate perspective he had....
It’s always going to be the case that many
of these films and characters are going to
be divisive”—Barrios cites the over-the-
top character played by Tyrell Davis in
Our Betters as one at which “I’ve seen
mixlern spectators flinch and cringe”—
but “it’s probably just in my nature to feel
in many instances that the sheer visibili
ty is the most important thing."
Barrios hastens to add that he doesn’t
shy away from citing some of the films “for
the negativity, or the stupidity, of their
portrayals," but he has an ultimately
pluralistic and open-minded take on the
historicizing of cinema from a queer
perspective. Screened Out therefore
Shirley MacLaine (right) co-stars with James Gamer in
includes both Monty Clift’s “gay predator”
1961’s The Children's Hour as a schoolteacher tormented
in Suddenly, Last Summer and Albert
by her love for a colleague (Audrey Hepburn).
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