Monty @ 100: Instant Stardom & Queer Masculinity in "Red River"

by Nathaniel R

I watched myself in Red River and I knew I was going to be famous, so I decided I would get drunk anonymously one last time."
- Montgomery Clift to the novelist James Jones (From Here to Eternity)

Cliff is an arrogant little bastard."
- John Wayne to a Life Magazine reporter.

While The Search (1948) was the first chance for moviegoers to see the rising actor Montgomery Clift on the screen, it was actually the second movie the young actor shot. His trial run in Hollywood came shortly before his 26th birthday, as he ditched Broadway to head to the Arizona desert for a John Wayne western. The film was Howard Hawks' Red River. It's possible that Hollywood didn't know that the film would prove to be a sensation with audiences, but word quickly spread that Wayne's debut co-star would.

By most accounts John Wayne and Montgomery Clift didn't get along but sometimes that works for a picture rather than against it...

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Pride Month Doc Corner: 'Disclosure: Trans Lives on Screen'

Doc Corner is celebrating Pride Month with a focus on documentaries that tackle LGBTIQ themes. This week a new documentary about transgender representation on screen, streaming on Netflix.

By Glenn Dunks

The Celluloid Closet casts a long shadow over queer cinema in the 25 years since its release when it became an arthouse box office and Emmy-nominated sensation. That film by Rob Epstein (a two-time Oscar winner) and Jeffrey Friedman opened the world of film to new textural readings that many LGBTIQ viewers had known and talked about for years but remained largely quiet in the mainstream while traversing through to the then budding space that queer filmmakers and stories had carved by 1995. And for those young enough to come to the film as a budding LGBTIQ cinephile, it made for a hell of an introduction to movies.

There are always going to be gaps in a film like The Celluloid Closet and the new Netflix documentary Disclosure: Trans Lives on Screen from director Sam Feder attempts to fill them. All that and add a quarter of a century of cultural and societal changes on top... 

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LGBTQ Highlights from Sundance

Here's Ren Jender filing her final report from Sundance 2020...

Tabitha Jackson and Kirsten JohnsonSundance didn't have a big queer film this year, as they have in many previous years (most recently in 2018, when director Desiree Akhavan's The Miseducation of Cameron Post won the Grand Jury Dramatic Prize) but with this year's awards came the news that a black, queer woman, Tabitha Jackson, would take over from outgoing, longtime Sundance Film Festival Director John Cooper. Jackson also made news on the first day of the festival when she married documentary director Kirsten Johnson (Johnson's Dick Johnson is Dead, was a favorite among many critics and audiences at Sundance this year), and they jointly announced that Johnson would no longer be submitting her films to the festival during her spouse's tenure. 

Sam Feder's Disclosure: Trans Lives on Screen premiered on Monday. The film is a documentary in the tradition of The Celluloid Closet, which included clips of queer characters in films and commentary on those characters by writers, actors and filmmakers...

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HMWYBS: A Sensational Diane Keaton in "Looking for Mr Goodbar"

Best Shot 1977 Party. Chapter 3
Looking for Mr Goodbar (1977)
Directed by: Richard Brooks
Cinematography by: William A Fraker

Finally with chapter 3 in our look back at the Cinematography nominees of 1977 -- a little prep work for the Supporting Actress Smackdown (last day to get your ballots in) -- a real threat to Close Encounter of the Third Kind for the Best Cinematography crown. Close Encounters won the Oscar, its sole competitive Oscar, but William A Fraker was more than worthy as a nominee for his evocative experimental work on Looking for Mr Goodbar. The cinematography (along with its swinging partner, the editing) are ready and able to capture the whirlwind moods, liberated momentum, self-deprecating humor, and multiple flashes of fear within this time capsule of the sexual revolution.

My only regret in showcasing the cinematography for this series is that good images are hard to come by. More (a little bit NSFW) after the jump...

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HBO’s LGBT History: The Celluloid Closet (1995) & Vito (2011)

Manuel is working his way through all the LGBT-themed HBO productions.

Last week we went a bit #NSFW and looked at six gay sex scenes that ranged from violent/sexy (Oz) to just fully sexy (Looking). This week, we go from the sexually explicit to the (homo)sexually implicit as we turn to The Celluloid Closet and the HBO documentary Vito (Netflix) on the iconic queer film historian, Vito Russo.

“In 100 years of movies, homosexuality has only rarely been depicted on the screen. When it did appear, it was as something to laugh at, or something to pity, or even something to fear. These were fleeting images but they were unforgettable. Hollywood, that great maker of myths taught straight people what to think of gay people. And gay people what to think about themselves. No one escaped its influence.” - Lily Tomlin in Rob Epstein and Jeffrey Friedman’s documentary based on Russo’s work.

As soon as you hear Tomlin’s words, you know you’re in good hands.

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