Chapter 3 – Queers and Dykes in the Dark: Classic, Noir & Horror Cinema’s Coded Gay Characters:

The subtle gay gangster films of the early 1930s – Little Caesar 1931, The Public Enemy 1931 and Scarface 1932

“Criminals should not be made heroes… The flaunting of weapons by gangsters will not be allowed…”

“… the fashion for romanticizing gangsters” must be denounced.

The three films also evenhandedly parcel out social pathology and sexual aberration: homosexuality in Little Caesar. Directed by Mervyn LeRoy from the novel by W.R. Burnett Little Caesar was first out of the gate and an immediate sensation. A diminutive bandit whose single-minded ambition compensates less for his stature than his repressed homosexual desire, Caesar Enrico Bandello is compact, swarthy and tightly wound; his golden boy pal Joe played by the scion of Hollywood royalty Douglas Fairbanks Jr. is tall, patrician and easygoing.

When Joe finds a female dancer and show business success, the jilted Caesar unhinged by a jealousy that dare not speak its name even to himself, makes his first mistakes in judgement. The male triangle is completed by Caesar’s worshipful lapdog Otera (George E. Stone) who gazes up at Rico with a rapturous desire that, unlike Rico, he barely bothers to sublimate. Doubly deviant Rico dies for his social and sexual sins, asking in tight close-up and choked up tones, “mother of Mercy, is this the end of Rico?”The famous last words inspired an incisive remark from Robert Warshow on gangster psychology:” Even to himself he is a creature of the imagination” from FILMIC – From Sissies to Secrecy: The Evolution of the Hays Code Queer by Mikayla Mislak

“This is what I get for likin’ a guy too much,” Rico ‘Caesar’ tells himself after he realizes he’s lost Joe. Joe, who he has referred to as “soft” and a “sissy.” The very pretty Joe (Douglas Fairbanks Jr.) has decided to give up the racket, to be a professional night club dancer. Robinson wisecracks, “Dancin’ just ain’t my idea of a man’s game.”

Joe is romantically involved with Olga (Glenda Farrell). ‘Caesar’ is not only jealous of Joe’s relationship with Olga, he appears to have no use for women at all.

At the end there is a telling close up, a well of tears in his eyes, a subtle quiver in his face. Rico cannot shoot Joe, even though he needs to keep him from squealing. The image of Robinson coming head on with his feelings reveals his struggle with the repressed love for his dancing pal. The scene is very effective when the camera closes in on Robinson, capturing his dewy, wide eyed stare. Behind the scenes what helped the intensity of the look of longing turned out to be a serendipitous moment when Robinson had to fire a pistol while looking into the camera, and was unable to keep his eyes open, each time he pulled the trigger. Eventually they had Robinson’s eyes held open with cellophane tape. The effect worked perfectly.

Another interesting point in Little Caesar that hints at his latent homosexuality is a scene that highlights his clumsy fussiness. Rico is trying on a tuxedo and gazing at himself in the mirror. Posturing gleefully as he swishes at his own reflection. In this scene, Rico also becomes caught in his effete sidekick Otero’s (George E. Stone) gaze, who joyfully watches his boss flit for the mirror.

In The Public Enemy (1931) there is a noteworthy scene, when Tom (James Cagney) goes to his tailor to get fitted for a suit. It’s a hilariously fidgety few moments for Cagney while the flamboyant tailor fawns over his arm muscles. When the movie was re-released, the sequence wound up on the cutting room floor.

According to Mislak In Howard Hawk’s Scarface (1932) it could be seen as having a gay subtext, as Antonio ‘Tony’ Camonte (Paul Muni) shows a repressed homosexual desire for his best friend Guino Rinaldo played by George Raft. Hawk’s film doesn’t work on a blatant exhibition of violence, instead Scarface’s subtlety draws on the subliminal impression of his sexual impulses.

Through my readings, it has been noted that there is a coded gayness inferred from the character of Camonte in Scarface. Rather than the repressed sexual desire for his close friend Guino, I catch more a wind of an incestuous desire for his sister Cesca (Ann Dvorak). Camonte hovers over her with an iron will, not allowing her to have any man touch her. She even alludes to his untoward attentions at one point telling him that he loves her more than just a brother. Camonte (Muni) does focus obsessively over his hair and his wardrobe, which Poppi (Kathy Morely) tells him is ‘sweet’. But there are a few references to Guino being queer. He wears a carnation which is a code for being a gay man in film. Camonte says he’d like a carnation too, takes it out of Guino’s lapel and tells him “Better no one sees you with this.” He also makes a comment about one of the North side gang members not to be taken seriously because he owns a flower shop! Guino doesn’t show any interest in women until nearly close to the end of the picture, when he submits to Camonte’s sister, Cesca.

“The placement of homosexuality or the real possibility of it in an antisocial context is quite natural. Homosexuality when it is invisible is antisocial. The only condition under which homosexuality has ever been socially acceptable has been on the occasion of its voluntary invisibility, when homosexuality were willing to pass for heterosexuals. Obvious homosexual behavior is reflected onscreen as in real life, only in the ‘twilight world’ of misfit conduct. During the brief period of explicit reference to homosexuals in pre-Code films of the early 1930s. Gay characters were psychologically ghettoized by their routine relegations to a fantasy world or an underworld life….

….in addition to strengthening the Code in 1934, Will Hays reacted to criticism by inserting morals clauses in the contracts of performers and compiling a “doom book’ of 117 names of those deemed “unsafe” because of their personal lives. Homosexuality was denied as assiduously off screen as it was on, a literally unspeakable part of the culture. By 1940 even harmless sex-roles farces such as Hal Roach’s Turnabout were considered perilous in some quarters. The film, about a married couple (Carol Landis and John Hubbard) who switch roles by wishing on an Oriental statue, was described by the Catholic Legion of Decency as dealing with ‘subject matter which may provide references dangerous to morality, wholesome concepts of human relationships and the dignity of man.’ ” –Vito Russo

HITCHCOCK SUBVERTS SUSPENSE!

Hitchcock sensed the ambiguous sexuality in Mrs. Danvers (nicknamed Danny) who embodies the forbidding identity of the coded lesbian in 1940s films. As she strides down the halls of Manderley, there is an element of the angry older woman trope, who is vacant of male companionship by choice, with an added streak of dissatisfied longing. She embodies the sterile matron, showing characteristics of an ‘old maid’ attributed to a repressed lesbian.” Rebecca serves as Fontaine’s idealized mother and that Hitchcock’s films present images of ambiguous sexuality that threaten to destabilize the gender identity of the protagonist.” -(Tania Modleski)

Gay Coding in Hitchcock films

Article by Scott Badman & Connie Russell Hosier

“In typical Hitchcock-ian fashion, the “Master of Suspense” often employed in his films subtle references to gay culture, defying conservative attitudes of the late ’50s.”-Scott Badman & Connie Russell Hosier | February 7, 2017- Editor’s note: The following article, like many of Alfred Hitchcock’s films, includes references to sex and violence.

Did Martin Landau play a homosexual in North by Northwest? Did Alfred Hitchcock really show gay sex on-screen in Rope, albeit in an unusual way? Was the whole plot of Rebecca driven by the twisted jealousy of an evil lesbian? And, most surprisingly, did Hitchcock depict a gay marriage way back in 1938’s The Lady Vanishes?”

Alfred Hitchcock was a complicated man, who put a singular stamp on all his films, infusing them with his droll and macabre sense of humor and imbued his work from the point of view of satyr. Hitchcock projects his dark and twisted view of the world as at the end of his films there is sort of a perverted release that he leaves us to contemplate. It also appears that he was playful with the use of his gay coded characters in many of his films.

Nothing Hitchcock did was unintentional, thereby reinforcing proof that there is a gay subtext to many characters in various films. He was very measured in every detail even before the camera captured the scene. But within this method of implying a queer pathology and positing queer elements to the narrative. He was ingenious in the way he veiled his ciphers within the cloak of deniability, in order to slip it by the censors in his cheeky manor.

Though Hitchcock would often imbue his pictures with coded gay characters, among scholars it is still speculative as to which side his view fell on. Given that everything Hitchcock constructed was intentional, it’s easy to see why he would be viewed as homophobic, due to his use of stereotypes that eventually led to queerness possibly being as the source of the crimes. But you have to consider that during the time he reigned, it’s a tribute to Hitchcock that he even embraced the complex issue of homosexuality. It shows me that there was a conscious level of understanding.

In his life, Hitchcock surrounded himself with gay culture be it in England or Hollywood, and he worked with many gay writers and actors. Ivor Novello who starred in two of Hitchcock’s silent pictures was good friends with he and Alma. Hitchcock was also friends with Rope stars John Dall and bisexual Farley Granger who played coded gay characters in the film. Granger also had the lead in Strangers on a Train, co-starring Rober Walker who plays another of Hitchcock’s coded gay characters, Bruno. Anthony Perkins who struggled with his sexuality in real life, plays the ambiguous, stammering, Norman Bates in Psycho. According to Jay Poole, Robert Bloch was interested in ‘abnormal psychology’ and was familiar with Freudian theories on sexual identity. His novel was more suggestive of the taboos, in terms of the incestuous relationship with Norman’s mother and his confused sexual identity.

The assessment of ‘camp’ and queerness can be seen as negative. More contemporary audiences might perceive Psycho as more campy than lurid or scary. Norman’s appearance in the fruit cellar might register with audiences as if he’s a big ugly ridiculous drag queen with a knife. The rest of the film is darkly humorous. (Doty cites Danny Peary)

In contrasting these male characters, one representative of sexually suspect psychosis, the other of gendered and sexual normalcy, Hitchcock blurs the lines between them, creating effects that will inform future depictions of American masculinity… While Lila Crane has been read positively as a lesbian character, and also as Carol Clover’s prototype for the ‘final girl” I demonstrate here that Lila is a more ambiguous figure, tied to social repression and the law. […] (Norman’s voyeurism and Lila’s examination of Norman’s room as pornographic) Infusing these pornographic motifs with addition levels of intensity and dread was the increasingly public threat of homosexuality within the Cold War context in which Hitchcock’s related themes gained a new, ominous visibility. What emerges in Psycho is a tripartite monster-voyeurism-homosexuality-pornography.” — (Scott Badman & Connie Russell Hosier)

WARNING SPOILERS:

Saboteur (1942) producer/writer Joan Harrison wrote the screenplay and collaborated with Hitchcock on many projects for both film and television. In the period of the 1940s to the 1950s, movies often conflated homosexuality with unsavory characters like Nazis, communists, and terrorists.

Saboteur stars Robert Cummings as plane mechanic Barry Kane who is framed for the terrorist bombing of a military instillation’s aircraft hanger where they manufacture planes. After he sees his friend die in the explosion, police assume that it was Kane who filled the fire extinguisher with gasoline. Kane goes on the run, to try and find the man he suspects is the saboteur, Frank Fry (Norman Lloyd) who is the real murderer who committed the heinous crime.

Kane stumbles onto a secret group of ‘the firm’, 5th columnists who are plotting to sabotage key targets, military planes, ships and dams. Kane is dropped into the middle of a cabal of dangerous Americans who have infiltrated positions of power in order to carry out their nefarious plan to disrupt the democratic system and cause chaos. Socialite dowager Mrs Henrietta Sutton (Alma Kruger) is a New York philanthropist who provides cover for the ‘firm’ run by Otto Kruger as the coldly, sinister Tobin. Kane pretends to go along with the group, and in one scene in a taxi with Alan Baxter who plays Mr. Freeman, there is a queer exchange between the two. Freeman tells Kane about his two little children, one of them is a boy, whom he wishes was a girl. He’s letting his son’s hair grow long, and hesitates cutting it. Then he shares his reminiscence about his boyhood when he had glorious long blonde curls. Kane tells him to cut his son’s hair and “save yourself some grief.”

Purely by Hitchcockian fate, Kane is thrown together with Pat (Priscilla Lane) who comes to his aid and at one point tries to distract Fry at the top of the Statue of Liberty. The beautiful Pat, flirts with Fry in order to stall him until the police get there, but he isn’t the slightest bit interested in her at all. In fact he seems annoyed by her presence. He’s a slim effete figure, a swishy loner with a serpent like grin. Theodore Price, in his book ‘Hitchcock and Homosexuality’ (1992), has no doubt Fry was gay. (Ken Mogg 2008)

Saboteur climax prefigures that of North by Northwest between Thornhill (Cary Grant) and the sinister Leonard (Martin Landau) who is also a gay Hitchcockian figure.

We first hear a remark spoken by socialite Mrs Sutton (Alma Kruger) when Barry (Kane) is taken to the saboteurs’ New York lair, as Barry enters the upstairs room. Mrs Sutton is addressing a couple of her male colleagues, whom she reprimands: ‘I have to hover over you like an old hen.’

This is precisely the line Hitchcock uses in Rebecca to characterize the somewhat de-natured estate-manager Frank Crawley (Reginald Denny) – nearly all the men in the film are so afflicted – and will be uses again in The Paradine Case to characterize the gay Latour (Louis Jourdan).

Frank Crawley is ‘as fussy as an old mother hen’; Latour, we’re told, had been ‘like an old mother hen’ to his beloved master, the blind Colonel Paradine.- Ken Mogg (2008)

In North by Northwest (1959) Martin Landau’s character Leonard, displays an undercurrent of homosexuality, that is subtly implied. He’s a devoted bodyguard whose gaze of his boss, Phillip Vandamm, seems to be bubbling with a refined sensibility, romantically fixated Vandamm (James Mason), a communist spy being hunted by the CIA. For a 1950s film, Leonard’s immaculate fashion sense and his fastidious swagger is a cue of his being queer. Nearing the climax of North by Northwest, the telling scene set in a mid-century modern house reveals Leonard’s love for Vandamm. Hitchcock even sets up the motive for Leonard shooting the object of his affection, jealousy and rejection. A notable line toward the end of the movie, Leonard remarks, “Call it my woman’s intuition” affirming the effete stereotype of a feminine gay man. Vandamm is genuinely flattered (contrary to homosexual panic) by Leonard’s feelings, which hints at his motivation for killing the thing he loves. Vandamm (Mason) tells him in that coldly sober tone of his, “I think you’re jealous. I mean it, and I’m very touched. Very.” As Scott Badman & Connie Russell Hosier point out, Hitchcock direction shows a “progressive perspective for its time but so brief that it doesn’t fully register with most viewers. Much later, Laundau acknowledged that he played Leonard as a homosexual, albeit subtly.”

From the opening of Strangers on a Train (1951), Hitchcock frames the entrance way to the story with a close shot on the main character’s shoes walking to catch the train. Bruno wears elaborate wing tips with high heels and Guy wears a more toned down fashionable pair of shoes, which are in opposition to each other and illustrate the contrast between the two main characters.

Robert Walker’s Bruno, is a menacing, creepy guy with flashy ties, who positions himself after a chance meeting on a commuter train, to assert his influence over famous tennis player, Guy Haines (Farley Granger). Bruno begins to flatter Guy, and insinuate himself by sharing his knowledge of Guy’s personal life. He is very proud of his tie that his mother gave him. It is a garish accoutrement dappled with lobsters. Like his silken smoking robe and another tie with the name Bruno embroidered on it. Bruno also spouts a lot of ‘ideas’ he has in that ever prompted mind of his, when talking about Guy’s upcoming divorce and bigamy scandal, “I’ve got a wonderful theory about that.”

Bruno insists on Guy having lunch with him, “sent to my compartment… You see you’ll have to lunch with me.” It is obvious, though Hitchcock is very subtle about broadcasting the cues, that Bruno is wooing Guy. Bruno is very effeminate in his demeanor, you could say that he has a ‘flaming’ air about him, always dropping hints about his sexuality. “My father hates me”, insinuating that he is not the kind of man he expects of him. “I’ve got a theory that you should do everything before you die.” He tells Guy amorously, “I like you, I’d do anything for you.”

Bruno Anthony’s plan is for both men to exchange each other’s murders. There are several scenes that scream Hitchcock’s gay coding. Initially, when the two men meet each other on the train, Bruno is flirtatious, dressed in ‘flamboyant clothes’, which to gay audiences, is seemingly clear to be a gay pick up. Bruno’s not only attracted to the handsome Guy, but he is in fact stalking him as an ‘object’ to fulfill his needs and be his ‘partner’ in his deranged homoerotic plot.

His mother, Mrs. Anthony (the wonderful character actor Marion Lorne) does Bruno’s nails and dotes over her son. As Bruno tells his mother, he wants his nails to look right.

The homosexuality is not explicitly stated, but there is too strong an import for critics and audiences in the know, to ignore. And, considering Hitchcock’s fascination with homosexual subtexts, it’s not a stretch to read into various scenes this way.

There is also the insinuation that Bruno has some serious mother issues, which is one of Hitchcock’s point of reference for his gay coding, such as his use of it with Norman Bates in his film Psycho. Bruno amuses himself by antagonizing his mother (Marion Lorne) who is completely in the dark about the twisted pathology of her homicidal son.

Bruno has set-up a visit from Guy who finds himself talking to the sociopath, who’s been waiting for Guy, while lying in bed in his silky pajamas. Is this actually arranged as a bedroom seduction?

Another brief sequence takes place at the end which centers around a carousel, a possible symbol of fluid sexuality, and sexual foreplay. The scene shows Bruno and Guy wrestling with each other, the movements could be read as Bruno really achieving what he wanted, to have sex with Guy. Hitchcock even cut different versions of the movie for Britain and the U.S., toning down the implied homosexuality in the American version — proof positive that he was fully aware of the gay implications in his movies. –(Badman and Hosier)

Hitchcock’s Rope (1948) is based on the play by Patrick Hamilton’s Rope’s End is perhaps one of the more obvious coded gay films with homosexual subtexts in his canon. Arthur Laurents, who eventually came out of the closet and wrote the screenplay, said during a commentary “What was curious to me was that Rope was obviously about homosexuals. The word was never mentioned. Not by Hitch, not by anyone at Warners. It was referred to as ‘it’. They were going to do a picture about ‘it’, and the actors were ‘it’.” The original British stage play was loosely based on the sensational true crime committed by Chicago students Leopold and Loeb in 1924, who killed a fellow student, just to see if they could get away with a motiveless crime. The script was penned by Arthur Laurents in collaboration with Hume Cronyn and Ben Hecht.

Brandon (John Dall) and Philip (Farley Granger) are entitled, affluent snobs, who are self-aggrandizing psychopaths with a Nietzschean superiority. Hitchcock arranges a taut stage play, around a case of Folie à deux. Brandon and Philip are implied coded lovers, who used the crime of murder to stimulate each other as if it were a sex act. The intellectual discourse they have in the beginning of the picture is overshadowed by the sexual banter that precedes what ultimately will become the act of committing a murder. Rope from the beginning of the picture inaugurates a very feverish sexual undercurrent.

In real life, John Dall was gay but died in 1971 without talking openly about his homosexuality. Farley Granger was bisexual when making the movie and then was in a lifelong gay relationship starting in 1963. Alfred Hitchcock was well aware of the sexual orientations of both actors and was reportedly pleased with what is now called the on-screen “chemistry” between the two.

He coded Brandon and Philip as gay by their “sex scene.” It occurs at the very beginning of the movie, which is also the murder scene. Hitchcock is strongly equating murder with sex. The murder-sex occurs behind curtained windows. The death scream corresponds to the orgasm. Now visible, the murderers Brandon and Philip quickly put the body in a cabinet and go into a postcoital exhaustion. Philip doesn’t even want the light turned on. In an inspired touch, Hitchcock has Brandon light a cigarette, a standard Hollywood indicator for “we just had sex.” – (Badman and Hosier)

The unorthodox murderers throw a dinner party with the victim stuffed inside an antique trunk. The film was initially banned in Chicago and other cities, because of its implied homosexual relationship between the two killers. In 1959, the story was revised as Compulsion directed by Richard Fleischer scripted by Richard Murphy and based on the novel by Meyer Levin. Compulsion remains closer to the actual true life crime, and the implicit queer undertones are brought more to the surface, with less of Hitchcock’s cheeky innuendo.

Hitchcock employs many homoerotic symbology and allusions, as the couple reenact the murder, with the director conflating violence and sex. For instance, Brandon gets a bottle of champagne still invigorated by the murder, while Philip the weaker of the murderous pair, is nervous. Brandon fondles the bottle of champagne as the two stand close together very intimately. He grasps the champagne bottle as phallus and flirts with the top of the bottle, yet not releasing the cork. All this is stages as foreplay. Philip finally takes the bottle from Brandon and liberates the cork. They then toast to their victim. Film Critic Robin Wood asserts, in The Murderous Gays: Hitchcock’s Homophobia, that these films could be made as more positive or sensitive to homosexuality rather than “traffic in homophobia” and that it perpetuates the notion that homosexuality leads to violence.

Psycho (1960)

Psycho works as a warped adult fairytale about getting lost and paying for one’s transgressions. Marion Crane (Janet Leigh) is a Phoenix secretary who embezzles forty thousand dollars from her employer’s client, and goes on the run. Marion is also shown to be a fallen woman, a sexual deviant herself with no morals, not only is she a thief but she is also having an affair with a married man Sam Loomis, (John Gavin). Driving in torrential rain, she pulls into the Bates Motel, an eerie, remote motel off the beaten path. The motel is run by a ‘queer’ sort of young man, Norman Bates (Anthony Perkins) who lives up in the brooding house on the hill, under the dominant authority of his cruel and elusive mother. As Poole puts it, Norman “remains locked in a disturbed world, and, as the film progresses, becomes murderously mad.”

Norman Bates: “A boy’s best friend is his mother.”

Norman is not a masculine figure, he is a mama’s boy who does his mother’s bidding. He is continually identified with his mother and, according to Freud and his psychological tunnel vision, would probably have evolved into a homosexual because of his Oedipal desires. Hitchcock perverts Freud’s narrow theory, by making sure the narrative shows Norman to be attracted to women, not men. It is when Norman’s arousal of the female body, that he dresses in frumpy dresses to represent his mother, who then takes over and annihilates the object of Norman’s desire. Many viewers assume that Norman is a repressed homosexual because he dressed in women’s clothing when manifesting his mother’s personality. Cross-dressing was stereotypically associated with homosexuality, however, Hitchcock’s film tries to make it clear that Norman is attracted to women from the very beginning with the seductive Marion. The concept of fluid sexuality was not understood in 1960, so conflating cross-dressing with homosexuality was a commonly misleading view.
Another interesting point that Jay Poole (Queering Hitchcock’s Classic) brings out is how the décor of the house is itself, queer. Referring to what he cites Foucault’s theory of ‘We Other Victorians’ which essentially invokes ‘the image of the imperial prude.’ Therefor the Bates house itself with it’s provincial Victorian style from a queer perspective represents the constraints of Victorian sexual expectations, which is — we do not speak of sex, and any relations are to remain between a heterosexual married couple in the privacy of their own bedroom. Norman is surrounded by this oppressive atmosphere, tries to fight his impulses, and his carnal desires. He does this by dwelling in his mother’s house, hoping that she will control the voyeuristic, dirty lustful desire he is having about Marion.

Norman Bates: “People never really run away from anything. The rain didn’t last long, did it? You know what I think? I think that we’re all in our private traps, clamped in them, and none of us can ever get out. We scratch and we claw, but only at the air, only at each other, and for all of it, we never budge an inch.”

Marion Crane: “Sometimes we deliberately step into those traps.”

Norman Bates: “I was born in mine. I don’t mind it anymore.”

Psycho, is the first of Hitchcock’s films to break tradition from his usual cultured mystery/suspense tropes. He decided to present this narrative using a pallet of B&W to set up a different tonality. Without the use of his vivid colors that he often used with cinematographer Robert Burks. Psycho deals with a more graphic, monochromatic, psycho-sexual sickness. A sickness that erupts in unprecedented perversity and violence for the director. Hitchcock also kills off his heroine in the first 20 minutes of the film. Psycho, will forever be known for ‘the shower scene.’

It also brings to the screen one of THE most hauntingly intense scenes that will remain in the collective consciousness, for what it lacks in vivid bloodshed, it possesses an uncomfortable voyeuristic gaze that brings us into Norman’s mind with the twists and turns, it assaults us, because of its deeper brutality, a more queasy feeling of psychic angst and inverts our gaze, as Marion stares back at us with her lifeless eyes.

“It’s not like my mother is a maniac or a raving thing. She just goes a little mad sometimes. We all go a little mad sometimes. Haven’t you?”

In 1950s into 1960 was a time when Americans were seeking out the American ideal, and cultural conformity. It was also a time when many audiences did not explore alternative sexualities and would have conflated homosexuality with a deviant and dangerous personality. Poole suggests “Hitchcock queers the image of sexual purity but reinforces naturalized heterosexuality as the film progresses… Hitchcock utilizes the Freudian explanation of homosexual development in his explanation of Norman’s development as a psychopathic killer despite Norman’s apparent heterosexual orientation.”

Hitchcock believed he made the perfect choice in casting Anthony Perkins as Norman Bates, the homicidal misfit who put on a dress and wig to embody his cruel mother. Norman became a serial killer with a fixation on his castrating mother, because she dominated his life and turned him into a monster. Perkin’s himself soft-spoken, androgynous, even perhaps a slightly effete actor. Alfred Hitchcock envisioned another gay character whose inherent corrupted humanity stems from their conflict of being queer. By queer it can refer to the process of shattering normalcy, and the vision from the perspective of a heternormative lens. Psycho takes the audience into a place of dis-ease, where seemingly ordinary people are capable of monstrous acts. If Hitchcock’s film is subverting the value of 1950s America, and the transgressive content of Psycho breaks from societal norms, then it can be read as a ‘queer’ film.

[voiceover in police custody, as Norman is thinking]” It’s sad, when a mother has to speak the words that condemn her own son. But I couldn’t allow them to believe that I would commit murder. They’ll put him away now, as I should have years ago. He was always bad, and in the end he intended to tell them I killed those girls and that man… as if I could do anything but just sit and stare, like one of his stuffed birds. They know I can’t move a finger, and I won’t. I’ll just sit here and be quiet, just in case they do… suspect me. They’re probably watching me. Well, let them. Let them see what kind of a person I am. I’m not even going to swat that fly. I hope they are watching… they’ll see. They’ll see and they’ll know, and they’ll say, “Why, she wouldn’t even harm a fly…”

As ‘Judith Butler’ Gender scholar, and ‘Hall’ speak of gender as performance, Hitchcock was clear in the way he developed Stephano and Bloch’s central characters in Psycho. In the final scene the murderer is revealed and his inner monologues keep hidden, the source of a disturbed, untroubled ‘victim’ of faulty psychological development.’ The opening montage sets the scene for the dark thing that takes place inside ordinary towns and inside the minds of ordinary people. (source: Poole)

Psycho was a vehicle that queered what the public had come to expect from Hitchcock films, and,much like its real-life inspiration (Ed Gein), it queered the notion that America was a place where ‘normal,’ was defined as a quiet, safe, small town life, free from the darkness that lurds in modest roadside motels… With Psycho, Hitchcock abetted by Stefano’s script, would shock audiences with sexual innuendo, apparent nudity coupled with a sadistic stabbing scene. Perhaps most shocking of all, he would leave audiences wondering what might lie below the surface of family, friends neighbors and themselves.” (Jay Poole)

Rebecca (1940), was not one of Hitchcock’s favorite films at all. Adapted from the Gothic novel by Daphne du Maurier, the sick soul here is a menacing lesbian. The formidable Mrs. Danver’s ( played by the equally formidable Judith Anderson) is the head Matron of Manderley, living in the shadows of the former Mrs. de Winter. She is a love sick sapphic with an unnourished desire for her dead mistress, Rebecca. Manderley itself is like a hollow mistress that consumes those inside it’s ominous hallways. ‘Danny’ resents the new Mrs. de Winter and in one revelatory scene taunts her (Joan Fontaine) trying to drive her to suicide through her cruel torments. She parades Rebecca’s lingerie with a lustful smirk on her diabolical face, running her hands under the sheer, delicate fabric, as if she were fondling Rebecca herself.

Mrs. Danvers’ jealousy of Maxime de Winters’ new bride is driven by obsession, a lesbian coded manifestation, one of jealousy and sexual desire. For Joan Fontaine’s character Danvers reenacts through story telling, all the attentions she used to lavish on her beloved mistress, running her bath, brushing her hair, admiring the finery of her monogrammed pillow cases. Though Rebecca is only seen as the painting of an alluring woman her ghost haunts Manderley and the new Mrs. de Winter.

In Hollywood movies of the 1940s, coded lesbian characters were far less common than coded gay men. Portrayals of lesbians might define them as dangerous and threatening, as is the case with Mrs. Danvers. Mrs. Danvers implies that she had been married. This allowed Hitchcock’s deniability against Judith Anderson’s lesbianism But Mrs. Danver’s eventual demise is brought about by her inability to accept Rebecca’s death or allow anyone to replace her love. And so her desire consumes her literally, in fire.

The Lady Vanishes (1938)

When I first saw Charters (Basil Radford) and Caldicott (Naugthon Wayne) in The Lady Vanishes my radar went off like a firehouse siren during the scene where they are both sitting up together in a small bed, one wearing the pajama tops and the other wearing the bottoms, (giving the appearance of both being naked in bed. It was such a marvelous coded moment and I knew they were a loving married gay couple. I found it so refreshing to see the British comedy duo playing a cheeky proper English couple who are cricket fanatics trying to get back to London while the Hitchcockian espionage is happening under their noses.

I enjoyed their farcical vignette about a pair of golfers, the one comedic entry in an otherwise moody collection of ghost stories- Dead of Night (1945) which like The Lady Vanishes, also stars Michael Redgrave.

Hitchcock excelled at getting fine performances from his supporting cast members. They usually are finely honed characterizations portrayed by perfectly cast actors, fascinating and funny, imbued with his dry British humor. Charters and Caldicott are wonderful examples. Played by Basil Radford and Naunton Wayne, two fine stage actors who reprised these characters in subsequent movies and BBC radio programs, Charters and Caldicott follow a long tradition of comedy duos of older men in British Music Hall, vaudeville and stage performances. Most audiences of the time, especially British audiences, would have interpreted their relationship simply as one between eccentric, middle-aged bachelors. (Badman and Hosier)

Though there are so many elements of the duo that is ambiguous, Hitchcock imbues Charters and Caldicott with an affection and closeness that reads like a positive coded gay pairing. The two aren’t played as stereotypically flamboyant or campy. Later in the movie, Charters and Caldicott are heroic in facing down danger, during an onslaught of gunfire by fascist spies.

Charters and Caldicott are stranded at the only hotel in a tiny alpine village. The desk clerk informs them that they must share the maid’s room. When they meet the voluptuous Germanic blonde, they glance at each other with an expression that appears to be saying we’re not interested. When they follow the maid to her cramped room, Charter’s cracks “It’s a pity they couldn’t have given us one each” which could be interpreted as each having their own woman, to have a bit of a romp with. But Charters clarifies himself by saying he meant two rooms. One for the maid and one for them. A mainstream audience could read their conduct as two heterosexual British gentlemen, but if you read between the lines, it is suggested that they have no interest in women. In another scene when the maid enters their shared room without knocking, both men act startled by the intrusion. Caldicott moves in a way that conjures up the role of protective mate. Once she leaves, Caldicott locks the door.

A master of queering the screen, Hitchcock plays with sexuality using his skillful methods of innuendo and artful suggestiveness — In an already masterful way of blurring the lines of reality and adeptly flirting with transgression, Hitchcock’s milieus are perfect playgrounds for coded gay characters.

Continue reading “Chapter 3 – Queers and Dykes in the Dark: Classic, Noir & Horror Cinema’s Coded Gay Characters:”

Quote of the Day! The Big Combo (1955) Mr. Brown: I’m gonna give you a break. I’m gonna fix it, so you don’t hear the bullets.

THE BIG COMBO (1955)

released Feb 5, 1955 by Allied Artists

Directed by Joseph H. Lewis (Gun Crazy 1950, My Name is Julia Ross 1945 , So Dark the Night 1946) Screenplay by Philip Jordan, Director of photography John Alton who’s haunting chiaroscuro and noir figures in silhouette fill out the landscape of entrapment, corruption and decadence.

From Film Noir: Reflections in a Dark Mirror by Bruce Crowthers

In The Big Combo (1955)“Alton’s dazzling black and white photography starkly counterpoints the film’s perverse sexuality which constantly strains against the limitations of the Hollywood code. Whether exploring the sado-masochistic violence of the hoodlums, two of whom, Fante and Mingo are clearly homosexual or the psycho-sexual domination wielded by gang boss, Brown over the young woman from the right side of the tracks, the scripts and the director’s needs are continually and effectively fulfilled by Alton’s camera.”

Stars Cornel Wilde as Leonard Diamond, Jean Wallace (Jigsaw 1949, The Man on the Eiffel Tower 1950, Storm Fear 1955) as Susan Lowell, Brian Donlevy (The Glass Key 1942, Impact 1949, The Quatermass Xperiment 1955, A Cry in the Night 1956) as McClure, Richard Conte (The Blue Gardenia 1943, Cry of the City 1948, Thieves’ Highway 1949, Whirlpool 1949, Oceans 11 (1960), Tony Rome 1967, Lady in Cement 1968) as Mr. Brown, Lee Van Cleef as Fante and Earl Holliman as Mingo, Robert Middleton as Peterson, Helen Walker as Alicia, Jay Adler as Sam Hill, John Hoyt as Dreyer, Ted De Corsia as Bettini, Helene Stanton as Rita

Joseph H. Lewis   from Film Noir and the Cinema of Paranoia by Wheeler Winston Dixon-
Lewis abandoned westerns and began a “frenzied round of freelancing that took him from Poverty Row to the majors, with such films as the disquieting horror Universal film The Mad Doctor of Market Street (1942) and the astonishing Secrets of a Coed aka The Silent Witness 1942 for PRC.”

The Big Combo is considered a ‘syndicate’ film noir, where a mob organization is running the urban landscape, in which the organization is ‘all’ but with a difference. According to writer/historian Wheeler Winston Dixon, director Lewis was an “eccentric and he depicts a universe that is as out of kilter as his often imbalanced camera set-ups; the camera sweeps in on the protagonists in their most intimate moments, frames them as silhouettes in wide shots that effectively use fog and a few shadows to disguise the fact that seem to entrap his characters in even tighter compositions.”

Brown- “I’m gonna break him so fast he won’t have time to change his pants.Tell him the next time I see him, he’ll be in the lobby of the hotel, crying like a baby and asking for a ten dollar loan. Tell him that. And tell him I don’t break my word. Diamond –“You must have done something pretty fine to get as high as you are, Mr. Brown. I’m looking into that. I’m gonna open you up, and I’m gonna operate. I hate to think of what I’ll find.

At the police station, booked on a phony charge just to harass Brown. Joe McClure-“Mr. Brown is a very reasonable man. You don’t know him.” Leonard Diamond “Oh, is he? Well I’m not. I intend to make life very difficult for you Mr. Brown.”

Joe McClure-“You shouldn’t talk like that, Lieutenant. You’re overstepping your authority.” Mr. Brown-“Joe, the man has reason to hate me. His salary is $96.50 a week. The busboys in my hotel make better money than that. Don’t you see, Joe? He’s a righteous man.”

From FILM NOIR: THE DARK SIDE OF THE SCREEN BY FOSTER HIRSCH

“One of the eroding factors in the fifties thrillers surfaced in such films as the Big Combo and The Phenix City Story where crime no longer springs from the aberrant individual but is instead a corporate enterprise, run like a business. (Or like Murder Inc.) This view of crime is widespread, almost communal undertaking, counters the traditional noir interest in the isolated criminal whose actions are controlled not by an impersonal conglomerate but by a complex interweaving of character and fate.” Hirsch also points out that it represents another level of decadence.

From The Lost World of Film Noir by Eddie Muller-“This gray area between old-school hoodlum and the new “organization man” was fertile turf for noir fables…)… in The Big Combo the gangster picture is distilled into a sexual battle between the saturnine, sensual Mr. Brown (Richard Conte) and dogged but frustrated flatfoot Leonard Diamond (Cornel Wilde) Both men covet the appetizing Susan Lowell (Jean Wallace), whom Diamond has been stalking for months as part of his investigation of Brown’s illegal Combination.”

I have read that chiaroscuro is director Lewis’ domain and that he also liked to use icy blondes the way Alfred Hitchcock did. In Gun Crazy (1950) Lewis had Peggy Cummins, and in The Big Combo it is Jean Wallace, yet Lewis’ women are more overtly ‘sex-kittenish than high class blonde.- From Film Noir: An Encyclopedia Reference to the American Style by Alain Silver and Elizabeth Ward

Cornel Wilde does a blunt job playing a righteous cop, Leonard Diamond who will do anything to take down Mr. Brown who represents everything he detests in the world.

“I know his name. The name of a man who will pick up a phone and call Chicago and New Orleans and say “Hey Bill, Joe is coming down for the weekend. Advance him fifty thousand,” and he hangs up the phone and the money’s advanced, protection money. A new all night bar opens, with gambling outside city limits. A bunch of high school kids come in for a good time. They get loaded, they get irresponsible, they lose their shirts. Then they get a gun, cause they’re worried, they want to make up their losses. And a filling station attendant is dead with a bullet in his liver. I have to see four kids on trial for first degree murder. Look at it. First degree murder, because a certain Mr. Brown picked up a phone.”

Robert Middleton who happens to be one of my favorite underrated character actors plays Diamond’s boss, Police Lt.Peterson, who’s trying to convince Diamond not to pursue Brown through his girlfriend Susan Lowell and realizes that after tailing her for months, Diamond might have developed feelings for her. “You’re a cop, Leonard. There’s 17,000 laws on the books to be enforced. You haven’t got time to reform wayward girls. She’s been with Brown three and a half years. That’s a lot of days… and nights.”

Richard Conte is particularly more brutal as Mr. Brown than in some of his other portrayals of the embodiment of the crime aesthetic, possessing the essential flair of the well heeled mobster. The Big Combo is one of the most bleak and perverse of all the mid 1950s film noirs. The pace of the film leaves us hanging in a world of perpetual threat and vexation.

Richard Conte infuses the role of Mr. Brown with an unusual intensity even for the enduring tough-guy Conte as he plays a ruthless mob boss who practically holding a society girl Susan Lowell (Jean Wallace) hostage by their odd attraction for each other. Susan has left a budding career as a pianist to be a trophy in Brown’s collections, seduced by his control, and the money he lavishes on her, yet ambivalent about her self-loathing and her attraction to his perverse power over her body and their sexual relationship. In a potent scene he takes Susan in a secret room in her apartment filled with a hidden stash of money and ammunition. Brown to Susan- “This is my bank… we don’t take checks, we deal strictly in cash. There isn’t anybody I’d trust with so much temptation–except myself. Or maybe you.”

Mr. Brown- “Where’d you get that outfit?”  Susan Lowell “What’s wrong with it?”  Mr. Brown-“I like you better in white. You’ve got a dozen white dresses. Why don’t you wear them? “ Susan Lowell-“White doesn’t please me anymore.” Mr. Brown –“A woman dresses for a man. You dress for me. Go put on something white!”

Brown employs his two exploitable goons Fante (Lee Van Cleef) and Mingo (Earl Holliman) to stay close to Susan and watch her every move, acting as unwanted bodyguards.

Brown’s far-flung organization is under attack by the overzealous hard-boiled detective Leonard Diamond (Cornel Wilde) who is determined to bring Brown to justice. All of Mr. Brown’s associates are figures marginalized by society in some way, all defined by their ‘difference.’ Brown gets his kicks pointing out what everyone else around him lacks while he pats himself on the back like a sadistic narcissist.

The film opens with Susan fleeing a boxing match, pursued by Mr. Brown’s two hired muscle heads, through dark alleys until she is finally caught by Brown, which only symbolizes his sexual dominance over her.

“It was for her I began to work my way up. All I had was guts. I traded them for money and influence. I get respect from everybody but her…”- Mr. Brown

Brown is so fixated on displays of dominance and strength that he fires his boxer after he loses his bout. First he uses the opportunity to belittle his deputy McClure (Brian Donlevy) in front of the young boxer then he smacks Benny across his swollen bloody face waiting for his retaliation, but when it’s obvious the boy won’t hit him back, he cuts him loose.

Brown talking to Benny after the bout- “So you lost. Next time you’ll win. I’ll show you how. Take a look at Joe McClure here. He used to be my boss, now I’m his. What’s the difference between me and him? We breathe the same air, sleep in the same hotel. He used to own it!”

[yelling into McClure’s sound magnifier that is in his ear]

“We eat the same steak, drink the same bourbon. Look–same manicure, cuff-links. But we don’t get the same girls. Why? Because women know the difference. They got instinct. First is first and second is nobody…  Now, Benny, who runs the world? Do you have any idea?” Bennie Smith “Not me, Mr. Brown.” Mr. Brown “That’s right, not you, but a funny thing, they’re not so much different from you, but they’ve got something. They’ve got it, and they use it. I’ve got it; [pointing to McClure] he hasn’t. What is it, Benny? What makes the difference…? Hate! Hate is the word, Benny! Hate the man that tries to beat you. Kill ’em, Benny! Kill ’em! Hate him till you see red, and you’ll come out winning the big money, and the girls will come tumblin’ after. You’ll have to shut off the phone and lock the door to get a night’s rest.”

Brown lectures Benny- “You should have hit me back. You haven’t got the hate. Tear up Benny’s contract. He’s no good to me anymore.” 

Brown cuts his fighter-Benny loose, telling him he just doesn’t have the killer instinct he needs. Brown is a narcissistic bully whose smooth philosophical meanderings taunt the people who work for him, women and even the cop who is right on his heels.

Brown’s two brawny side-kicks Fante and Mingo are obviously homosexual lovers, who thrive on violence as an enhancement to their sexual arousal like foreplay. Brown’s former boss, the weakened and inadequate McClure must rely on a clunky portable radio sized hearing aid in order to keep up with the gang’s activities.

Lt. Diamond goes after the psychotic megalomaniac Mr. Brown trying to shut down his crime organization. There is conflict already within the organization as Brown is demeaning to McClure and verbally bates him constantly with put downs, to try and get a rise out of him. McClure wants to get rid of Brown all together and take over as head of the mob once again, but in the end he is too impotent, to smack down Brown’s power.

Brown has a prized possession —his beautiful blonde girlfriend Susan who is watched over every minute of the day by his two thugs Fante and Mingo. When Susan finally has a breakdown and overdoses on sleeping pills as a way out, she finally asks Diamond for help.

Susan eventually attempts suicide by taking an overdose of pills, which puts her in Diamond’s path. Diamond himself is attracted to Susan. Believing that the only escape from her amoral relationship with Brown is to die, Diamond tries to pull her away from his control.

First Diamond wants to expose Brown’s criminal organization and secondly it would give him great satisfaction to take Susan away from Brown, as he also has developed feelings for her.

When Diamond harasses Brown by arresting him on false charges just to bring him into the station –he goes on a mission to persecute Brown, who retaliates as his credo is “First is first and second is nobody” Brown puts a contract out on Diamond, who is then kidnapped by his two vicious flunky’s Fante and Mingo who are in a surreptitious relationship, with each other Mingo showing his sexual attraction and love for Fante in a rather covert yet palpable way. Though toward the end, while they’re hiding out, he does make mention that he’s sick of Salami. A thought, make of it what you will!

In a shocking scene Fante and Mingo torture Diamond, it is particularly brutal and vicious as they use McClure’s hearing aid turned up to full volume amplifying sound to the point it could blow his ear drums out. The pain on Diamond’s face is tangible. Then they begin pouring alcohol down his throat poisoning him, leaving him to appear as if he’s been off on a bender, thank god his boss Peterson (Robert Middleton) is there to help Diamond recover.

Mr. Brown-“I think Mr. Diamond needs a drink. Got any liquor?” Fante-” How about some paint thinner?” Mr. Brown-“No, that’ll kill him. Anything else?” Fante- “Hair tonic, 40% alcohol.” Mr.Brown-“Fine.”

Once he recovers from his torture, Diamond is even more determined to bring Brown down. Diamond starts to put the pieces together and find clues that point to Brown’s involvement in the murder of a racket boss who disappeared a while ago, and whose place he took over in the organization. He discovers some of Brown’s old associates, Dreyer (John Hoyt) an Austrian who runs an antique and import business and Bettini (Ted De Corsia)a nice Italian man who owned a pizza parlor in the city and is now hiding out, fearing for his life.

Fante and Mingo go to Diamond’s hotel room intending to kill him, and wind up murdering his sometime lover night club singer Rita who went there to surprise him with a date, but becomes an unfortunate casualty being at the right place at the wrong time she is caught in the fray. Even Rita had laid things out for Diamond about the reasons why Susan would stay with a creep like Brown- “Women don’t care how a man makes his living, only how he makes love.”

After Diamond finds Rita’s body gunned down in his apartment- “She came to see me in her best shoes!” I treated her like a pair of gloves. I was cold… I called her up.”

Brown tries to school Diamond in the ways of the world, “You’d like to be me… You’d like to have my organization, my influence, my fix. You think it’s the money. It’s not–it’s personality. You haven’t got it. You’re a cop. Slow. Steady. Intelligent. With a bad temper and a gun under your arm. With a big yen for a girl you can’t have. First is first and second is nobody. 

Brown- “You’re a little man with a soft job and good pay. Stop thinking about what might have been and who knows–you may live to die in bed.”

Brown starts to get paranoid and panicky, getting rid of McClure who is a weak link in the mob, and then his two henchmen who know too much about his double dealings and can be linked to McClure’s murder. Adding to Brown’s worries, his ex-wife Alicia (Helen Walker) comes back into the picture after hiding out in a sanitarium aiding Diamond in Brown’s capture. Ultimately leading to a showdown at an airplane hangar where Diamond corners Brown. Alicia “I’d rather be insane and alive, than sane… and dead.”

When McClure tries to double-cross Brown by using his own thugs against him, Fante and Mingo pretend to go along and wind up turning their machine guns on him instead, while Brown sardonically watches grinning like the sadist he is. With a flair of evil embellishment Brown walks over to McClure who has two machine guns trained on him, and takes out his hearing aid. Brown-“I‘m gonna give you a break. I’m gonna fix it, so you don’t hear the bullets.” It is a stunning scene we are watching from McClure’s perspective the flashing lights and smokey tendrils from the gun fire happen at us, but it is all done in eerie quiet and darkness. We are experiencing the frightening moment when he is shot to death. We become McClure at that moment.

Later Brown wants to dispose of his two thugs so there is no evidence of murder, he hands them a package while they are hiding out in an old building in the basement that used to be a speakeasy, They think the package is filled with food, guns and their share of the money they heisted from the bank, but it’s filled with dynamite. As the two men are blown up, leaving Mingo alive for a brief moment just enough to give a death bed confession to exact revenge for his lover’s death and point the finger at Brown.

Richard Conte is icily ruthless as the film’s antagonist, Mr. Brown who is not known by any other name, signifying an enigmatic symbolism for abject violence and immorality. As Dickos states “his imaginative brutality, Lewis bridges violence to the audience’s darker, vicarious desire to see pain inflicted on the screen”

There is a sense of noir fatalism and an underlying current of deviant and provocative sexual appetite within The Big Combo. Much of the violence is influence by a strong element of sadism. The relationship between Susan and Brown is structured by fatalism, as she is sullen and submissive to his neurotic controlling fixation, while she wants to escape she shows no strength or determination other than to give in to it. Brown is obsessed with Susan as an object, preoccupied with her body. This is illustrated in one scene where he devours her with studied kisses, he worships her ,objectifies her with salacious flattery in a way that perversely brings her to ecstasy. It might be this odd sexual attraction to Brown that keeps her passive to his controlling behavior toward her.

From Film Noir Encyclopedia: Edited by Alain Silver and Elizabeth Ward
“The Homosexuality of Mingo and Fante is smothered in an atmosphere of murder and sadistic torture , as they refine the conventions of violence into a sexual ritual. Joseph H. Lewis’s direction strongly points to a crude sexual bias throughout the film. Even Diamond appears to be sexually frustrated and compensating for impotence. Much in the same way as Lewis’s classic Gun Crazy, there is an affinity between sex and violence.; and the exploration of futility presents an ambience strangely reminiscent of an earlier period of noir films, such as Scarlet Street and Woman in the Window. These attitude combine with John Alton’s photography to create a wholly defined film noir, as striking contrasts between the black and white photography and Lewis’s sexual overtones isolate The Big Combo’s characters in a dark, insular universe of unspoken repression and graphic violence.” -Carl Macek

From Street With No Name by Andrew Dickos

“The Homoerotic violence in the Mingo-Fante relationship, unencumbered by misguided sociological sentiments, is still stereotyped psycho-sexuality —offensive enough on another score—but it is raw and consistent with the noir world. The privilege of noir cinema, as distinguished from other genres, lies in the latitude these films were permitted in exploring sexual power and its ambiguity, and the reason is apparent; as the cautionary cinema of the great negation of a “healthy’ puritanical American vision, the film noir almost mandates a depiction, however perverse, of those repressed impulses reigning hand-in hand with the anarchy that drives its protagonists to violence and paranoia. Unrepressed sexuality alongside these characteristics is far too messy to contain, so it must be vanquished. When it is particularly threatening, one may be sure that there is a woman involved.”

Lewis’s The Big Combo- “where it becomes almost pornographic to see Susan Lowell hopelessly submit to what is surely suggested to be an act of oral sex performed by her crime-lord boyfriend, Mr. Brown. But Lewis is no pornographer, he is a sensualist in the most serious way. No other works in American film until the 1960s broached the acknowledgment of these carnal hungers as a life-enhancing dimension of dangerous living—indeed, in living a short, intense life unto quick death.”

Both Lewis’ film noir masterpieces Gun Crazy and The Big Combo are sexually defined by the discursive violence of the external world—so much a corollary for the violence of passion that Lewis and screenwriter Philip Jordan can barely mask the story of The Big Combo as merely another sensational example of the extend to which organized crime corrupted postwar American Life.

Your EverLovin’ Joey saying there’s an underlying current of shadows and light here at The Last Drive In, but no worries, you got what it takes to stick around -no need to turn up the volume for you to hear how much I appreciate you all!