Do Gay People in Films Always Have to be Stereotypes?

Originally published on www.biggaypictureshow.com

In the past I’ve written about a number issues I have when it comes to gay men in films and films that are gay-centric in particular. One of these issues is that they are usually sold on sex, making us all fit into the sexual deviant paradigm that so many people have afforded us, the other issue I’ve written about is why we have to have gay films – after all why can’t they just be films.

This being said, ‘gay films’ are here and for the foreseeable future they are here to stay, because let’s face it, many Hollywood studios are still reluctant to release a mainstream gay-centric film, despite the success of Brokeback mountain almost a decade ago. This then brings up the issue that most of the gay men that we see in films are the flappy, fashion conscience, witty, bitchy character whose retorts and comments are used for comic affect.

These characters can be found in many rom-coms, such as Bridget Jones’ Diary, as well as teen flicks like Mean Girls. We are undoubtedly being put into more films now and being allowed to be openly gay – and all exposure is good exposure in a way, I suppose. Even if the studios are still a little worried to make us the leading star, at least we are there.

However, I can’t get over the fact that many gay-centric films made by LGBT production companies and filmmakers have to use these characters as well. I’ve reviewed and watched a few films recently that heavily feature characters like this. Yes, there are gay people like this, but would it hurt the filmmakers and studios to feature more down-to-earth, non-stereotyped gay characters in a gay movie? After all, we’re bombarded with these stock characters in nearly every romantic comedy that gets churned out.

It looks as though whilst we are getting some representation in mainstream movies, the issue of being stereotyped will always be there. It’s just a shame that gay centric comedy films and rom-coms don’t display enough diversity, to show other gay men and people in Hollywood that we aren’t all like that stock character they know so well. Perhaps if the entertainment made for the gay community were more varied in its depiction of gay people, a little more of that diversity would seep through into the mainstream.

Review: New Year's Eve

Originally published on www.moviemuser.co.uk and www.biggaypictureshow.com

New Year’s Eve gives us a look into the way in which we all cross over into each other’s lives on a daily basis without even knowing it, amongst a combination of romance, heartache, laughter and sadness.

With an all-star ensemble cast the audience gets to enjoy the many different plots, in what reminded me of films such as Love Actually. The film is generally good and moves at a steady pace so the audience won’t get bored as they keep zigzagging through the multiple stories, some of which are much better than others.

The story involving Michelle Pfeiffer and Zac Efron is one of the more touching, and we get see Michelle looking very dowdy, something I thought I’d never say as she gets Efron to try and fulfil her New Year wishes. Also, the interlinking story of Halle Berry nurse and Robert De Niro’s dying patient is enough to bring a tear to anyone’s eye.

Modern Family star Sofia Vergara has to get a special mention for her laugh out loud one-liners and superb comedic acting; she truly steals the show from everyone else. The same however cannot be said for Abigail Breslin who, aside from looking completely unrecognisable, will make you thing it’s baffling that she was once nominated for an Academy Award, as her performance is a little wooden and unbelievable.

The one negative aspect of the film has to be the fact that in two hours some of the stories don’t get as much time as others, therefore making you either forget about them or not care too much. A few are so perfunctory they’re barely stories at all.

Aside from that the film is very enjoyable, taking us on an emotional rollercoaster of happiness and sadness. There are quite a few points when you will hear yourself go “aww” or wipe a tear from your eye.

New Year’s Eve is surprisingly enjoyable, light-hearted and quite sweet at its core. It’s just a shame some stories couldn’t have been padded out more, but overall very good.

The production code may have come down but we still aren't mainstream

Originally published on www.biggaypictureshow.com

After the production code was brought in during the 1930s it became much harder to show several different things on the Hollywood Screen.

There were restrictions on the length of time a couple could be seen kissing, whether you could show a couple in bed together, even a scene from Disney’s Snow White had to be cut because she was shown in bed with the seven dwarfs, and then there was the restriction of showing homosexuals on screen due to what was know as sex perversion.

However after existing in Hollywood for over thirty years the final part of the code, which just happened to be the section concentrating on sex perversion, came down in 1968, finally allowing homosexual characters to be shown in Hollywood films.

There had been gay characters shown in films prior to 1968, but these films were from countries such as Italy and Great Britain, but with the dominance of the Hollywood film they hadn’t made enough of a global impact.

After the production code had fully come down gay people were finally being shown in some films, but we had a very odd portrayal as throughout the 1970s and 80s we were mainly shown in a negative light, usually as villains or victims.

As the 1990s came around gay people finally began to get a slightly better portrayal, that meaning that we weren’t necessarily tragic or villains, as we were now cast in the role of the ‘gay best friend’ in several Hollywood rom-coms, where we minced about helping our girl friends shop for the perfect shoes. Hello stereotype. But we were far from leading characters.

Over this period of time we were getting more of a leading role in some independent films such as My Own Private Idaho by Gus Van Sant, but these were seen by limited audiences and we were once again just missing out on the mainstream, and we weren’t leads in big blockbuster films.

It wasn’t until the 2000s with the release of Brokeback Mountain that we finally saw a mainstream Hollywood Blockbuster depict two gay men as the lead characters, alas they were very tragic figures but it was a true portrayal of the time. But since this we have still not seen many big Hollywood films featuring gay characters as leads.

Yes there was Milk and The Kids are Alright that both garnered much success, but this is only two where there could have been many more.

Maybe its Hollywood’s fear of not appealing to a big enough audience or maybe it is the fear of the actors to not be seen as gay and alienate a large section of their audiences, that we will never know.

But what we can see is, whilst these fears hover around behind the doors of Hollywood it looks as though we haven’t come tremendously far in the last 40 years, so maybe we will just have to wait another 40 and live with the fact that we do have exposure in many indie films these days. Every little counts after all.