Was robert mitchum gay
The Backlot Queer Book Forum discussion
So, what did I think? Successfully, I do include to say that I enjoy these films a lot more than some others have done. I do assume there are legitimate complaints to be made about deviations the films made, as compared to the text of the book, but I’m not as upset about it as many apparently are (judging from comments left on IMDB, for example!). The Hobbit is almost certainly the last big-screen Tolkien adaptation that will be made during my lifetime (since the author’s estate dislikes the films and has refused to surrender the rights for any of Tolkien’s other material) and I’m more than content to go along for the journey and see these films in the cinema.
So, what didn’t I like about the pictures? Successfully, I think the second film is better than the first, but my complaints about part two pretty much mirror my reservations about part one. To begin with---it’s too darn long! It didn’t performative, as the first half of the first film did, but man---it clocked in at 161 minutes
Actually I had noted this earlier on another thread re: TCM presentations. It is interesting to compare The Falcon Takes Over, Farewell My Lovely with Robert Mitchum and Murder My Adorable with Dick Powell.MilesArcher wrote: ↑Wed Dec 21, 2022 1:39 pmDon't forget this question. The movie was shown on TCM last Saturday, Dec. 17th.MilesArcher wrote: ↑Tue Dec 20, 2022 5:50 pm Raymond Chandler's classic mystery "Farewell My Lovely" was filmed as "Murder My Sweet" with Dick Powell and later with the unique title with Robert
Mitchum. However, before either of those movies were made, another version, a "B" movie version, was made. It was shown on TCM recently. What
was the name of the film and who was the star?
I had already seen Murder My Adorable and Farewell My Lovely before I saw the Falcon version. When I saw the Falcon one it kept reminding me of something so I looked it up.
Don't know if it will continue after the holidays, but TCM was showing Falcon movies on Saturday mornings.
As for his name, I always assumed Gay was short for Gaylord or something. Sanders made a few Falcon movies after he did The Saint series, but decided it was time to move on. He actual
Before the word “gay” took roots in our daily existence – and before we began to see movies featuring women, men and all variations of the word “gender” in all kinds of styles – the powerful engine of the industry of visual fun was often driven by filmmakers who, even at the dawn of Hollywood, were themselves queer . The word was mentioned rarely and only in personal, but the business machine was constantly affected by clever and daring homosexual filmmakers, creating slap pictures and origin significant conversations between the story on the screen and the audience in the dark.
From the 1930s to the early years of the 60s, Hollywood had filmmakers capable of enthralling, entertaining and sometimes scaring the audience. Many of the uppermost directors were LBGTQ+. Many actors and imaginative people behind the scenes were adequately known by the studios and its bosses to be gay – but as long as their private experience was kept silent, their work was more than welcomed.
Among these filmmakers, many were European by birth, working in Hollywood and feeling themselves more at home there than in Europe.
Foremost among this group was James Whale. Born in Dudley, England, in 1889, Whale had been
I think Crossfireis a tremendous film, and one of the (many) aspects which makes it interesting is the changing of the source material to produce it a film about anti-semitism. If you realize, before seeing the clip, that the murder victim was originally gay rather than Jewish, then it is possible to identify a couple of elements which allow the clip to be read in both ways, i.e.:ken123 wrote:Both films deal with anti - semitism, consideration the novel upon which "Crossfire " derives from " The Brick Foxhole ", written by Richard Brooks dealt with homosexuality.
- the soldier who is a suspect for the murder, whose friends rally orbicular to hide him, strikes me as something of a contemporary cultural stereotype of a gay human - he is 'sensitive' and 'artistic' and so on.
- he meets the murder victim in a bar and goes up to his apartment with him - in other words, a pick up.
The film-makers have provided the soldier with a wife and the murder victim with a girlfriend, but in both cases the relationships are somewhat ambiguous.
Another aspect, probably related to censorship, which makes the film fascinating to me, is the character of 'the Man' (as memorably played by Paul Kelly). Who is 'the