| Cast overview, first billed only: | |||
| Dirk Bogarde | ... |
Melville Farr
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| Sylvia Syms | ... |
Laura
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| Dennis Price | ... |
Calloway
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| Anthony Nicholls | ... |
Lord Fullbrook
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| Peter Copley | ... |
Paul Mandrake
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Norman Bird | ... |
Harold Doe
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| Peter McEnery | ... |
Barrett
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Donald Churchill | ... |
Eddy
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| Derren Nesbitt | ... |
Sandy Youth
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John Barrie | ... |
Det.Inspector Harris
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John Cairney | ... |
Bridie
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Alan MacNaughtan | ... |
Scott Hankin
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| Nigel Stock | ... |
Phip
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Frank Pettitt | ... |
Barman
(as Frank Pettit)
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Mavis Villiers | ... |
Madge
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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 <mills@colorado.edu>
"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.