In any case, this list can bring an even greater appreciation for these goddesses. And some information I simply haven't found yet. Some are simply the best guesses of film historians.
WAS VINCENT MINELLI GAY MOVIE
Some come from the studios' press agents for the movie magazines (often idealized for the public, though close to accurate). Sometimes they come from the costume designers themselves, such as Adrian. These measurements are generally the ones recorded at the peak of their popularity. You'll see that this particular list is organized from shortest to tallest, and it also includes their approximate weight and measurements. As a result, I put together a chart with many of the actresses we know and love. Louis (1944), teenagers try to find romance under the confines of respectability as well.Whenever I do presentations on the History of Fashion in Film, some of the most fascinating facts to audiences are the sizes of their favorite classic cinema stars. In The Reluctant Debutante (1958), Rex Harrison and Kay Kendall put Sandra Dee through a ridiculous cotillion season to keep up with their friends while ignoring what their daughter wants. But her client (Leslie Jourdain) falls in love with her as she is, not the trained courtesan. In the Oscar winning musical Gigi (1958), the eponymous character (Leslie Caron) struggles with training to be a high-end courtesan and succeeds at it. Minnelli also made films about women facing conformity. In that film as well, rigid masculinity is a prison for women and men.
WAS VINCENT MINELLI GAY HOW TO
Out of fear of becoming a weak mama’s boy, he gets help from his father’s employee (George Peppard) on how to be more like his father. Minnelli’s 1962 film Home from the Hill has George Hamilton in a tug of war between his macho father and nagging mother. For Tom, love has to come with sex, and he is in love with Laura. Adding to that, Ellie taunts him with the “sister boy” and Tom has an emotional breakdown. Tom tries to be romantic with her but doesn’t have any affection for her like he does with Laura.
Al then suggests Tom sleep with a local waitress Ellie (Norma Crane). Tom wants to be accepted, and his roommate Al (Darryl Hickman) tries to teach him how to walk like a man just to get the other guys off his back. Both Bill and Herb are so focused on not disappointing other powerful men that they have forgotten their actual family. And yet the societal pressure to “be a man” puts a major strain on Bill and Laura’s loveless marriage, and Herb’s relationship with his son. The patriarchal expectation of performative masculinity leads to Tom being mercilessly humiliated by his classmates, Bill, and especially his own father Herb (Edward Andrews). Tom can be a red-blooded heterosexual male and enjoy feminine-coded pursuits. In the film, characters dance around queerness, and the film ends with Tom being married (happily or not, we don’t know).Īlmost by accident, though, the film makes an even more sophisticated point about sexuality. Critics have noted that this makes the film rather toothless since there couldn’t be discussion of sexual orientation.
WAS VINCENT MINELLI GAY CODE
Because of the Hays Code censors, all references to homosexuality were cut. From what I’ve read, in the play Tom faces direct accusations of being homosexual after getting caught swimming nude with a male professor. I’ve never read Robert Anderson’s play, nor have I seen a production of it. Only Laura Reynolds (Deborah Kerr) is considerate of Tom’s personality and they begin a friendship that could turn into more. John gets the cruel nickname “sister boy,” and his housemaster Bill Reynolds (Lief Erickson) does little to stop the teasing, believing that Tom needs to learn to be a regular fella. He gets along better in the company of women than his roughhousing, skirt-chasing classmates. Unlike the other boys there, John enjoys reading, knows how to sew, and wants to be a folk singer. Tom Lee (John Kerr) is a new student at a boys prep school.
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