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?

Click to read more ...

Monty @ 100: The absolutely bonkers "Suddenly, Last Summer"

Team Experience is watching ever Montgomery Clift film for his Centennial

by Mark Brinkerhoff

Much has been written at The Film Experience about Tennessee William’s one-act play-turned-wild-ass movie (including again here, just last week), though with Elizabeth Taylor and Katherine Hepburn going head-to-head, how can you not? But generally un(der)discussed among the trio of stars of Joe Mankiewicz’s 1959 film, adapted by Gore Vidal of all writers, is the by-that-time uninsurable Montgomery Clift.   

Reuniting onscreen for the third (and final) time with Taylor, his closest friend in real life (who, in fact, made it possible for him to appear alongside her by resolutely refusing to do the film otherwise), Clift gallantly cedes the floor to his co-star...

Click to read more ...

The Furniture: Suddenly, Last Summer and the Dawn of Creation

As a special side dish to our ongoing Montgomery Clift Centennial celebration, The Furniture (our series on Production Design) is looking at one of his most fascinating pictures...

by Daniel Walber

Saint Sebastian had to be martyred twice. Violet Venable (Katherine Hepburn) tells his story with a certain vicious pride, lending her own Sebastian a supernatural authority. The saint was shot full of arrows but survived, miracuously, only to be beaten to death with cudgels. The first death has been depicted by countless artists, a hauntingly beautiful and frequently homoerotic image. The second, meanwhile, is unspeakably violent and ugly. It’s almost forgotten, a brutal footnote to a transcendent aesthetic.

Mrs. Venable’s Sebastian, however, gets it in reverse. As is revealed at the end of Suddenly, Last Summer, he was torn limb from limb under the white hot sun of Cabeza de Lobo. And for what crime? In accordance with the aging Hays Code, it appears to be his homosexuality. But beneath this ultra-thin surface lingers something much darker...

Click to read more ...

Over & Overs: Bringing Up Baby (1938)

by Cláudio Alves

Part of loving cinema is wanting to share its wonder with others. That's why the communal experience of watching a movie with an audience can be so rewarding, for it makes one feel as if they're not alone in their relationship with a work of art and entertainment. Perhaps because of that, I often feel compelled to watch my most beloved movies with the most beloved people in my life, sharing with them this wonderful thing that has brought me such happiness. Not every cinematic passion is easy to share with others, obviously, and more avant-garde possibilities tend to be less well-received. The same can happen with older pictures, though I've found that there are some classics whose appeal can usually transcend whatever taste barriers there are between a casual movie-goer and the cinema of the past.

In other words, I love showing people Bringing Up Baby and watching them delight in a movie that, when times are hard, always manages to cheer me up…

Click to read more ...

1938: Doris Nolan in "Holiday"

Before each Smackdown, Nick Taylor highlights alternates to the Oscar nominations for Best Supporting Actress... 

I’ve written about a lot of movies for this series that have meant a great deal to me, both because I love them and because they are very, very good. With only three events left in this current Smackdown season, I think I can safely guess that I will not be writing about a film that has touched me quite as dearly as Holiday has. Along with being an indisputable peak in classical Hollywood filmmaking, in the romantic comedy genre, in the careers of its directors and its leading couple, the film is also a deceptively sharp ensemble feature. To say any performer matches the heights Katharine Hepburn and Cary Grant reach would be hard to argue, but to call Doris Nolan's savvy, multifaceted supporting turn as the character who kicks the whole plot into motion a sterling achievement all its own is a claim I'd be very happy to make...

Click to read more ...