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\fv’rifi Gus Van saws Milk generating significant Oscar buzz and the latest big: budget gag/«themed movie I Love You Phillip Morris about to hit the «omen. Steven Paul Davies history of gay cinema is timely. Working Chronologically from the 1920s, Davies charts the depiction of gay
iglh'l.‘ ufi‘iS‘. and themes in Hollywood and indie cinema from the stock
, 3* the 40s and 50s. through the demonising of gay characters up ;:.ri i‘iiouglieut the 60s. to the rise of openly gay filmmakers and .fr.‘l’l’.‘l'li ‘l s exploring gay milieu, largely free from the restraints of
Kit/bile the author admits in his introduction that he has been unable to rid-A” every gay reference in the movies. some of his editorial choices will same eyebrows. Visconti‘s Ossessione (1942). for instance, is singled out .is l)'ll"tlfftll.ll”ly worthy of note. while the director‘s later, more blatantly nriiiicerotic works such as Rocco and his Brothers and Conversation Piece tilC conspicuous by their absence. There's also little attempt to deal "/ztn these films where the ‘gueer' subject matter is hidden in the subtext ' fainii: of the film - Powell and Pressburger's The Red Shoes for
Significant films and personnel from each decade are dealt with in short .: cal filltllllftflC‘S. with longer essays providing an overview on that :Leamde's films in their historical context. In these extended passages Davies makes a decent attempt to consider films from each period against their historical backdrop (including the rise of the gay rights mo vei‘itent. Stonewall. the impact of AIDS). While individual reviews can ‘e undermined by the authei 's occasional breathless tendency towards empty superlatives i‘Qu.te simply a masterpiece is his bold assessment Broimback i‘flountam‘; taken as a whole this is a fun. accessible 'c'.‘.ic:'3n to the high and low points in the history of gay cinema.
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