MY VIEWING DIARY: PART SIX

As Los Angeles begins to open back up after months of a shut-down, allowing some of life's pleasures to resume as we once knew, there seems to be one glaring omission. Movie theaters in the city have strangely still not been given an approval to reopen although department stores, gyms, day-care centers, summer camps, museums, restaurants and even film production all have been allowed to continue under strict guidelines. I guess I wasn't aware of how life-threatening going to the movies must be compared to sweating and breathing heavy in a gym.

Now there is a problem with movies resuming across the country. Nervous studios keep delaying their upcoming major releases which means that movie theaters don't have anything new to screen which means audiences have no incentive to return to the theaters. I'm sure this will be sorted out at some point and we will ultimately have something of a summer movie season. In the meantime, I'm still at home watching movies. I have purchased new films to stream a couple of times yet it's just not very satisfactory to me. Call me old-fashioned, that's perfectly fine but I know what I like. If I'm spending top dollar for a new release, I want a big screen and popcorn to complete the experience. Anyway, here are a couple of films I watched in honor of LGBTQ month:

"Victim" (1961)

When the British drama, "Victim" from director, Basil Dearden was released in 1961, it was met with emphatic calls for censorship from the British Film Board and the US Production Code refused to give the film it's seal of approval. The fuss over this movie was simply because it dealt directly with the issue of homosexuality (which the act was illegal in the United Kingdom until 1967) and many believed that the subject was far too distasteful for the average movie-goer. But "Victim" was ultimately released in both countries and while it was hardly a box-office smash, the film received some critical praise and found a receptive audience, helping (in a small way) towards changing attitudes on homosexuality, at least in Britain. 

Dirk Bogarde plays Melville Farr, a successful barrister (a lawyer to the Yanks) who is on his way to being appointed as a judge. Happily married with a lovely wife, Laura (Sylvia Syms), life appears very good for Farr. But he has being carrying a deep, dark secret; Farr is attracted to men. Jack "Boy" Barrett (Peter McEnery), a young working class man who Farr had a close friendship, tries desperately to contact him, even calling him at his home. Farr refuses to speak to him, fearing Barrett wants to blackmail him about their affair. But it's Barnett who is actually being blackmailed over a suggestive photo of him with Farr. After being arrested for stealing from his employers to pay Sandy Youth (Derren Nesbitt), the leader of the blackmail ring, Barnett feels he no longer has anything to live for. When Farr discovers the truth, he goes to other victims of the blackmailers in order to encourage them to help him fight back against them. 

By today's standards, "Victim" is far too routine and discreet. Yet in it's day, this was considered a daring political statement and highly explosive subject matter. Mr. Bogarde delivers a compelling performance as a coldly, reserved man who we watch visibly transform as he begins to accept and become more honest with himself. Many critics referred to Bogarde's appearance here as "courageous" and to be honest, it was brave for the popular British actor to take on this role as it certainly could have derailed his career during this time. Even though most of the Pride parades, festivals and parties have been cancelled this year, that doesn't mean we should not continue to celebrate the LGBTQ communities this month. "Victim" serves as a potent reminder of a time, not that long ago, when being gay was a criminal offense and how lives could easily be destroyed if this information went public. We have come very far yet, as hate crimes against gays and the senseless deaths of trans people continue to rise, we still have far to go.



"Sunday Bloody Sunday" (1971)

"Sunday Bloody Sunday", a drama from director, John Schlesinger, deals with a subject that has still been rarely tackled in cinema: bisexuality. Peter Finch plays Daniel Hirsh, a middle-aged, closeted gay doctor. Glenda Jackson is Alex Greville, a divorcee seeking some excitement. What they have in common is Bob Elkin (Murray Head), a carefree, young man who creates art instillations. And he is the lover of them both. 

As Bob drifts between Daniel and Alex, unwilling to settle down, the idea of knowingly having to share for the affections of the mercurial young artist becomes far more difficult as each wants to spend more time with him. But since the story is set in Britain, this complicated love triangle remains very civilized with stiff upper lips, deeply suppressed emotions and voices rarely ever being raised. As we watch Bob going back and forth, loving and manipulating each partner, the film seems to point out that free love and open relationships tends to work out better in concept than execution. 

Mr. Schlesinger, who had directed the only X-rated film to win a Best Picture Oscar with his previous film, "Midnight Cowboy", wanted to push the boundaries of what could be shown in film even further with this provocative story that features chaste yet still daring love scenes between the two men. What was also surprising (and very refreshing) was that neither Bob nor Daniel, although they are both discreet, never agonized over their sexuality or relationship. 

The only character we see really suffering is Alex who is also having difficulties with her dead-end job in addition to the growing frustration about her love life. And Ms Jackson's performance is the true standout here. The actress commands every scene in which she appears, managing to make Alex's brooding and caustic wit utterly charming. I also realized that this is the first time I have seen a screen performance by the acclaimed, two-time Oscar-winning, now-eighty-four year old Jackson and I have been missing out. And be on the look-out for a fourteen year old Daniel Day-Lewis making his uncredited film debut as the future three-time Best Actor Oscar-winner appears very briefly as one of a group of children causally damaging cars with broken glass and coins.