Gay Best Friend: Sebastian Venable in "Suddenly Last Summer" (1959)

 a series by Christopher James looking at the 'Gay Best Friend' trope

Alas, this is most we see of our dearly departed subject of Gay Best Friend this week, Sebastian Venable.Not all gay best friends get a lot of screen time, but they always know how to make an impression. Admittedly, I’m broadening the definition of the trope a bit with this latest entry. Sebastian Venable’s face is never seen. However, he is the coded mystery and the spectre that looms over the entirety of Suddenly Last Summer. The word “coded” is used both strongly and loosely. Gore Vidal’s adaptation of the Tennesse Williams play does everything but say the word “gay” to communicate that Sebastian prefers the company of other men. You’d be hard pressed to find a gayer movie from 1959 (though the Best Picture winner, Ben-Hur, could give it a run for its money).

What makes Sebastian Venable, a man who is talked about and not seen, a candidate for Gay Best Friend?

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Quick Take: Gore Vidal on Film

Variety recently announced that Kevin Spacey is to bring Gore Vidal to our screens in a Netflix original film. Directed by Michael Hoffman (dir. The Last Station), Spacey might be the most perfect casting, and judging by some coded, jovial remarks at the Tony Awards this year, may relish a role like this.

Vidal's life has previously been on screen in documentaries: Gore Vidal: United States of Amnesia and Best of Enemies, about his combative relationship with William F. Buckley.

Vidal: Writer, bon vivant, public intellectual and unapologetic homosexual has a rich, albeit chequered history in cinema. Screenwriter for the frenzied Suddenly, Last Summer, debauched bloodbath Caligula and his own notorious novel Myra Breckinridge was adapted into X-rated 1970 film.

And as uncredited writer of Ben-Hur, he was responsible for those lingering glances between Stephen Boyd and Charlton Heston - not that Heston ever knew that...

The Furniture: How Subtly Is Paris Burning? (Not Very)

"The Furniture" our weekly series on Production Design. Here's Daniel Walber

This week marks 50 years since the release of Is Paris Burning? (not to be confused with documentary classic Paris is Burning) an epic that hasn’t quite stood the test of time. In the tradition of The Longest Day, it harnesses a cast of thousands to tell the story of a single, crucial moment of World War Two: The liberation of Paris. French stars like Jean-Paul Belmondo and Alain Delon take roles in the Resistance, while the likes of Kirk Douglas and Glenn Ford play American generals. There are cameos from Simone Signoret, George Chakiris and Anthony Perkins, to name only a few.

Directed by René Clément with a script by Gore Vidal and Francis Ford Coppola, you’d think it would be more popular. Still, it’s worth revisiting, and not only for its two Oscar nominations (art direction and cinematography).The film’s visual ambition is often astonishing. Its commitment to accuracy caused at least one unlucky Parisian passerby that the Wehrmacht had actually returned. Everything is bold, nothing subtle.

Production designer Willy Holt, an American who mostly worked in France, later worked on Julia and Au revoir les enfants. Art director Marc Frederix designed for films as disparate as Moonraker and Love and Death, while his colleague Pierre Gufroy won an Oscar for Roman Polanski’s Tess. Clearly, the talented group was more than up to the task of winding back the clock 20 years on one of the world’s most recognizable cities.

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Watching the Documentary Finalists: Part 3 - Confrontations

Glenn here looking at each of the 15 Academy’s documentary finalists from which five will be nominated for the Oscar.

We're at the final of three parts looking at the 15 finalists for the Academy's best documentary category. In the first part we examined people, in the second part we looked at world politics, and now confrontations. It's something that can come in a myriad of forms. Confrontations can be between enemies on TV sets around the nation or in the towns and jungles of Indonesia. Whether it’s the confrontation of death, or the confrontation of major religious corporation, these films encompass big themes that have a longstanding tradition in cinema but each go about it some wildly different ways.

All that after the jump

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