|baleen - 2014-01-02 |
Can you spot... The METAPHOR
|Aelric - 2014-01-02 |
At the risk of sounding like a rube...No, I don't get the gay metaphor you are going for. It seemed fairly straightforward hesitant proposal scene, common enough a thing in the age of 'women in their place' cinema.
Woman: "Oh my, my (career/passion/situation)! I could never leave it of compromise marriage and it!"
Man: "F that noise, be a wife, cuntmouth! Start cooking!"
Woman: "Oh, I love you so much! Yes, I will drop it all and serve you for the rest of my life!"
I guess I could see it in the sort of way that many gay men and women entered loveless marriages in such a way, both unhappy, due to denial of their true sexuality, but this scene doesn't seem to suggest that, just good ol' "let's get married because....*shrugs*? I'm sure that the what you are trying to point out is more apparent with the whole film, but it's nothing particularly obvious here. At least to me. Now excuse me, I'm got some corn to husk in case I'm stupid.
The metaphor wasn't gay, it was the broken teapot as analogy for their relationship. Everything else in this scene, however, is very gay in the same way that Joan Crawford movies are.
The gayness in Sirk's films was not commentary about being gay, it was just campiness refined, DEFINED, really. His melodramas were a great influence on camp legends such as John Waters. That it's Rock Hudson in the starring role only stands to affirm it.
Perhaps I chose a difficult clip, or perhaps I'm reading too much into it... As soon as you pick up the camp inherent in Sirk's melodramas, I guess the whole thing becomes funny. I mean the comment on his interior decorating choices. I just find it funny. Perhaps I'm alone.
|Aelric - 2014-01-03 |
Hmm. Ok, your tag and mention of a closet is what threw me off, then. The teapot seemed unrelated to gayness, and that was what I was looking for specifically, thus I dismissed that.
I would still say it all seems fairly emblematic at the time. A large part of the 50's attitudes came from the men returning from the war and just wanting things how the pictured them while they were in foxholes dreaming of home. This sort of fucked America up for a decade, creating that overly sentimental, orderly, conformist image that the 50's have. The edgiest things that were around were black and white sci-fi, as nothing else wanted to break any rules. Also, there was a commie hunt going on until the 60's (in some ways, until the 80's) and no one wanted to get blacklisted.
I get what you are saying, I just don't think Sirk was a standout in it, it seems like he was just one among his peers. As the other videos comments mentioned, maybe a bit more of a heartstrings tugger, but nothing truly different in my view.
Blah, meant as rely to baleen, obviously.
REPLY. Fuck typing in the morning.
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