7.8/10
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The Celluloid Closet (1995)

A documentary surveying the various Hollywood screen depictions of homosexuals and the attitudes behind them throughout the history of North American film.

Writers:

Vito Russo (book), Rob Epstein (story) | 3 more credits »
Reviews
Nominated for 4 Primetime Emmys. Another 7 wins & 5 nominations. See more awards »

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Cast

Cast overview, first billed only:
Lily Tomlin ... Narrator
Tony Curtis ... Himself
Susie Bright ... Herself
Arthur Laurents ... Himself
Armistead Maupin ... Himself
Whoopi Goldberg ... Herself
Jan Oxenberg Jan Oxenberg ... Herself
Harvey Fierstein ... Himself
Quentin Crisp ... Himself
Richard Dyer Richard Dyer ... Himself
Jay Presson Allen ... Herself
Mrs. Gustav Ketterer Mrs. Gustav Ketterer ... Herself
Gore Vidal ... Himself
Will H. Hays ... Himself (archive footage)
Farley Granger ... Himself
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Storyline

A comprehensive documentary of the history of gays and lesbians in cinema, from negative to positive reflections of gay characters and the troubles of actors and actresses. Written by R. John Berggren <jberg@nina.pagesz.net>

Plot Summary | Add Synopsis


Motion Picture Rating (MPAA)

Rated R for some graphic footage of sexuality and violence, and for language | See all certifications »
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Details

Country:

France | UK | Germany | USA

Language:

English

Release Date:

15 March 1996 (USA) See more »

Also Known As:

Celluloid Closet See more »

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Box Office

Opening Weekend USA:

$95,047, 17 March 1996

Gross USA:

$1,400,591

Cumulative Worldwide Gross:

$1,400,591
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

The filmmakers originally planned a sequence discussing how gay historical figures were portrayed as heterosexual in films. They aborted the sequence when Richard Burton's estate denied the rights to Alexander the Great (1956), MGM denied use of Hans Christian Andersen (1952) (fearing that the filmmakers were trying to "out" Danny Kaye) and Charlton Heston declined use of The Agony and the Ecstasy (1965) (claiming that Michelangelo was heterosexual). See more »

Quotes

Harvey Fierstein: The hunger I felt as a kid looking for gay images was not to be alone.
See more »

Connections

Features Gentlemen Prefer Blondes (1953) See more »

Soundtracks

Secret Love (Reprise)
Written by Sammy Fain and Paul Francis Webster
Performed by k.d. lang (as K. D. Lang)
See more »

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User Reviews

 
The Power of Cinematic Image
23 April 2005 | by gftbiloxiSee all my reviews

Based on the book by Vito Russo, written by Armistead Maupin, and narrated by Lily Tomlin, THE CELLULOID CLOSET uses interviews and hundreds of film clips to examine the way in which Hollywood has presented gay and lesbian characters on film from the age of silent cinema to such recent films as PHILADELPHIA and DESERT HEARTS.

Throughout the documentary, the focus is on both stereotypes and the various ways that more creative directors and writers worked around the censorship of various decades to create implicitly homosexual characters, with considerable attention given to the way in which stereotypes shaped public concepts of the gay community in general. Overtly homosexual characters were not particularly unusual in silent and pre-code Hollywood films, and CLOSET offers an interesting sampling of both swishy stereotypes and unexpectedly sophisticated characters--both of which were doomed by the Hayes Code, a series of censorship rules adopted by Hollywood in the early 1930s.

The effect of the Code was to soften some of the more grotesque stereotypes--but more interesting was the impetus the Code gave to film makers to create homosexual characters and plot lines that would go over the heads of industry censors but which could still be interpreted by astute audiences, with films such as THE MALTESE FALCON, REBECCA, BEN-HUR, and REBEL WITHOUT A CAUSE cases in point. Once the Code collapsed, however, Hollywood again returned to stereotypes in an effort to cash in on controversy--with the result that throughout most of the sixties and seventies homosexual characters were usually presented as unhappy, maladjusted creatures at best, suicidal and psychopathic entities at worst.

The film clips are fascinating stuff and are often highlighted by interviews of individuals who made the films: Tony Curtis re SOME LIKE IT HOT and SPARTACUS, Shirley MacLaine re THE CHILDREN'S HOUR, Stephen Boyd re BEN-HUR, Farley Granger re ROPE, and Whoopie Goldberg re THE COLOR PURPLE, to name but a few. All are interesting and intriguing, but two deserve special mention: Harvey Fierstein, who talks about the hunger he had as a youth to see accurate reflections of himself on the screen, and Susan Sarandon, who makes an eloquent statement on the power of film as "the keeper of the dreams."

Although the material will have special appeal to gays and lesbians, it should be of interest to any serious film buff with its mix of trivia and significant fact. The DVD also includes notable packages of out-takes from interviews that are often as interesting as the material that made the final cut. If the documentary has a fault, however, it is that it offers no "summing up," preferring instead to show only how far the portrayal of homosexuals has come and indicating how far it has yet to go. Recommended to any one interested in film history and interpretation.

Gary F. Taylor, aka GFT, Amazon Reviewer


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