Stephen is a married Oxford professor experiencing the pangs of a mid-life crisis as he begins to bristle at the stifling emotional repression of the society in which he lives. Things begin... See full summary »
Bob, a old gangster and gambler is almost broke, so he decides in spite of the warnings of a friend, a high official from the police, to rob a gambling casino in Dauville. Everything is ... See full summary »
A kind but pampered beautiful young virgin and her family's pregnant and jealous servant set out to deliver candles to church, but only one returns from events that transpire in the woods along the way.
Max von Sydow,
A plea for reform of England's anti-sodomy statutes, this film pits Melville Farr, a married lawyer, against a blackmailer who has photos of Farr and a young gay man (who is being blackmailed and later commits suicide)in Farr's car. After the suicide, Farr tracks down other gay men being extorted for money by the same blackmailer. The well-educated police Detective Inspector Harris considers the sodomy law nothing more than an aid to blackmailers, and helps Farr in calling his blackmailer's bluff. The movie, far ahead of its time, ends with Farr and his wife coming to terms with his homosexuality after the public exposure he faces in the blackmailer's trial. Written by
Mike Mills <email@example.com>
The word "queer" is used in two contexts in this movie. Firstly in "Queer Street" meaning to be in difficulties, particularly financial. Secondly in the whitewash daub on the garage door "FARR IS QUEER" meaning he is gay. See more »
When Melville is stood outside the Counsel & Clerks office, the shadow of the boom microphone is visible beside the sign, on the wall behind him. See more »
"Victim" is probably the first mainstream film on either side of the Atlantic to feature a gay hero. Granted, Dirk Bogarde plays a married closet case who hasn't actually engaged in a homosexual act in many years. Nonetheless, it's fairly amazing that, given what we know about attitudes toward gay people in the 1950's that a film this affirming of gay rights could have been made in 1961. It's a movie that's much more about "gay" as an identity than it is about sexuality; it centers on a blackmail ring that includes our closeted hero, a star of the London theatre, a lonely old barber, a Rolls-Royce salesman, and others. As a group, the gay men are intermittently desperate, proud, accepting, self-loathing, and scared -- which said more to me about 1961 than it said about gay men. The title is interesting to me; it seems that the journey of Bogarde's character seems to be the road out of victimization and toward (if this isn't too corny) self-actualization. It's a mildly entertaining movie, but a fascinating historical artifact.
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