Word: screen
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Dates: during 1960-1969
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Summer is the time for reruns - intentional or otherwise. Last week, NBC presented "the most unusual and exciting competitive pageant in America," but alas, it still looked like all those other un-unusual and unexciting pageants that parade across the screen this time of the year. There again was the line of dimpled sweet young things, gowns aglitter with sequins, hair piled high and smiles frozen in place from hours of practice before the mirror. There was the usual Congeniality Award and the inevitable quiz to test "poise, conciseness, speech and intelligence" (Host Mike Douglas: "Suzanne, what do you think...
Based on the play by John Osborne, Inadmissible Evidence has made a triumphant transition to the screen, with all of its claustrophobic intensity, venom and quinine-bitter laughter intact. In his scenario for the film, Osborne has speeded the tempo by slimming the monologues; Director Anthony Page has gained added power by close-ups that pore over a human face desolate in its frustrations. As on the London and New York stage, the demanding role of Maitland is enacted by Nicol Williamson, a player of explosive passion. Williamson does not merely perform; he lays his life on the line...
...Hour in 1929, fear of censorship forced Director William Wyler to substitute an innocent boy-meets-girl plot for the original lesbian relationship. When Billy Wilder made The Lost Weekend in 1945, he deleted all the book's references to the hero's homosexual self-doubts. The screen adaptation of Crossfire (1947) transformed the victim from a homosexual into...
...real changes began a decade ago with the gradual easing of industry censorship. Although the deviate references in Tennessee Williams' Cat on a Hot Tin Roof (1958) were cooled down considerably for the screen, two years later his Suddenly Last Summer was filmed with explicit references to pederasty. In the early '60s, the central characters in both Advise and Consent and The Best Man had their political careers ruined by past homosexual experiences. But even last year, some American film makers were still shy about dealing with the subject too openly: Richard Brooks eliminated most of the overt...
...than the gay boys themselves. "I think it's wonderful," says Ed Trust, president of the Mattachine Society. "These movies will show people that we are, first of all, people; second, homosexuals." That, however, may be a bit premature. While Hollywood bravely hurls words like "fag" across the screen, most of the homosexuals shown so far are sadists, psychopaths or buffoons. If the actors are mincing more than the dialogue these days, that may only be because Hollywood has run out of conventional bad guys...