Expansive and interesting, HBO produced this documentary on gay films throughout the years with other international TV corporations. But this is mainly about the way homosexuality has been depicted in American movies, particular A level studio products, since film began. It covers films from an Edison experimental film (where two men dance rather close) to the onslaught of independent gay films that have appeared in the 80's and 90's culminating in Hollywood blockbusters like "Philadelphia." It seems to wander amicably between discussing lesbian and gay male films and film images.

The film is narrated by Lilly Tomlin, who is never seen on screen. The picture is basically an endless stream of film clips broken by on screen comments from screenwriters, filmmakers, actors and a few others gay icons. Those interviewed include Tony Curtis, Armistead Maupin (who wrote the narration), Susie Bright (writer), Whoopi Goldberg, Jan Oxenberg (filmmaker), Harvey Fierstien, Quentin Crisp, Jay Presson Allen (a female scripter, "Cabaret"), Arthur Laurents (screenwriter, "Rope"), Gore Vidal (author, screenwriter "Ben Hur," "Suddenly Last Summer"), Farley Grainger (actor, "Rope"), Stewart Stern (scripter, "Rebel without a Cause"), Paul Rudnick (scripter), Richard Dryer (film historian), Shirley McClain (actress, "The Children's Hour"), Matt Crowley (screenwriter, "Boys in the Band"), Antonio Fargas (actor, "Next Stop Greenwich Village," "Car Wash"), Tom Hanks (actor, "Philadelphia"), Ron Nyswaner (scripter, "Philadelphia"), Barry Sandler (scripter "Making Love"), Daniel Melnick (former studio head, producer, "Making Love"), Harry Hamlin (actor, "Making Love"), John Schlesinger (director, "Sunday Bloody Sunday"), and Susan Sarandon (actor, "The Hunger"). Most of these talk in general about the different phases of gays in films however a few offer us insights on a few particular films. Vidal discusses "Ben Hur" and "Suddenly Last Summer" at length. Crowley defends his often maligned "Boys in the Band."

What is great about the documentary is that it is not only flooded with clips, but the narration and the interviews explain their importance to us. Also, the filmmakers, Ron Epstien and Jeffrey Friedman, make sure to identify the films and the speakers so that we can keep track of what's going on and who is who. It also shows us the way hays have been depicted in films throughout the ages.

Gays began in films as "Natures Mistakes." This is shown in silent classics like "Algie the Miner," "A Florida Enchantment," "The Soilers," "Wanderers of the West," and "Behind the Screen." During this we see that gay stereotypes, pansies, became used for comic relief in films starring Chaplin, Laurel and Hardy and the like. This grew into portraying gays as "The Sissy." This is shown in "Our Betters," "The Gay Divorcee," "Broadway Melody," "Myrt and Marge" and "Call Her Savage." The reverse of this, women as men is shown in "Morocco."

Eventually the Hayes Office, which is explained in the piece, caused a silencing of even these gay images on film. However, a few were allowed to slip through when portrayed as "Villains." Lesbians were especially prominent in these. Clips are shown from "Dracula's Daughter," "Rebecca," "Rope," "The Maltese Falcon," "Caged," "Young Man with a Horn," "The Vanishing Point," and "Freebie and the Bean" to support this. They are interspersed with films where homosexuality was sublimated, or hidden as something to be chuckled at as in "Tea and Sympathy," "Rebel Without a Cause," "Ben Hur," "Calamity Jane," "Johnny Guitar," "Red River," "In a Lonely Place," "Gilda," "Gentlemen Prefer Blondes," "Lover Come Back," and "Pillow Talk,"

There are also those films where the homosexual element is hidden or changed for more gentle sensibilities, such as "The Lost Weekend," "Crossfire," "Queen Christina," "Cat on a Hot Tin Roof," and "Suddenly Last Summer."

Then came the uneasy growth in films, where we were sad "Victims" in films like "Victim," "The Children's Hour," "Advise and Consent," "Walk on the Wild Side," "The Detective," "The Fox," "Boys in the Band," and then finally out of the closet but still problematic images in "Cabaret," "Next Stop Greenwich Village," "Car Wash," "Cruising," "Windows," "The Fan," and "Making Love." Included in this is a montage of straight films that use the word "faggot" in their text.

Finally, there is discussion of other films, many problematic and others remarkably bright, that have appeared over the past 15 years or so which have highlighted gay and lesbian stories. These include "Personal Best," "The Color Purple," "Thelma and Louise," "The Hunger," "Midnight Express," "Fried Green Tomatoes," and "Philadelphia." Other films which are briefly glimpsed from this time frame include "Torch Song Trilogy" "The Wedding Banquet" "Swoon," "Poison," "Go Fish," "The Hours and the Times," "Edward II," "The Living End," "The Crying Game," "My Own Private Idaho," "Silkwood," "Priscilla," "The Silence of the Lambs," "Long Time Companion," and "My Beautiful Launderette,"

I grew up in the Midwest and then moved to Texas. My parents and grandparents heritage is from all over the world, though mainly European. I was raised a Methodist and went to Baptist church for a bit as a teen but haven't claimed a religion for over 15 years or more now. I'm an American mutt with no real genealogical or spiritual ancestry. Being gay has given me a rich heritage to call my own. "The Celluloid Closet" celebrates that history. I belong to it and it belongs to me.

Notes:

Produced by Hugh Hefner, Steve Tisch, Howard Rosenman, Bernie Brillstein, and Brad Grey.

Based on the book and "the work" of Vito Russo (1946- 1990).

Friedman acted as an editor as well. Oxenberg acted as Creative Consultant. Lilly Tomlin acted as Co- Executive Producer.

Music by Carter Burwell. k.d. lang sings "Secret Love" over the end titles. (Doris Day is shown singing it in a film clip from "Calamity Jane").

Other films clips shown include "Some Like it Hot," "Basic Instinct," "Bride of Frankenstein," "Night Shift," "Teen Wolf," "Wings," "The Sergeant," "A View from the Bridge," "Thunderbolt and Lightfoot," "Butch Cassidy and the Sundance Kid," "Midnight Express," "Liana," "Boys on the Side," "Parting Glances," "Desert Hearts," "Polyester," "Mrs. Doubtfire," "Their First Mistake," "The Killing of Sister Goerge," "Mo' Money," "Another Country," "Dream a Little Dream," "The Chocolate War," "48 HRS," "Manslaughter," "north Dallas 40," "An Officer and a Gentleman," "Partners," "The Warriors," "Wild at Heart," "Heaven Help Us," "Heathers," "Bringing Up Baby," "Dancing Lady," "Fame," "Ladies They Talk About," "Tarzan and His Mate," "Top Hat," "Wander Bar," "Call Her Savage," "My Bodyguard," "La Cage Aux Folles," "Continental Divide," "Repo Man" and "Glenn Gary Glenross."

Will Hayes, for who the phrase "Hayes Office" was coined, is shown speaking in a segment of the film.

Director William Wyler is mentioned as is Charleton Heston, Catherine Denuve, and Dirk Bogarde. The deleted scene from "Spartacus" is shown.

(Review written in 1997)

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