I think there might be something wrong with me, but my main reaction to this new Aussiebum ad is that the ‘wonderjock’ really doesn’t look comfortable. However they do have certain properties that make for a pleasant aesthetic experience! I might have to watch it a few more time so I can truly appreciate the bulge-art on display. [Read more…]
The Big Gay Picture Show general blog where we assault your eyes with with we've got to say, from fun film finds and gay shorts to homo silliness and general sexiness
As a film critic, you have to hope that while you’re going to be giving somewhat subjective opinions, you’re not going to like a movie more just because there are pretty people in it. However it sure doesn’t hurt. I was just rewatching Shelter so I can review the new Blu-ray version of it, and I’d completely forgotten just how cute the movie’s star, Trevor Wright is – so apropos of absolutely nothing here’s are som pics of him we can all enjoy.
Sadly his career hasn’t exactly gone stratospheric since 2007’s Shelter, with roles in the likes of Vacancy 2 and 2001 Maniacs 2, as well as the less than pivotal part of ‘B.U. Guy in Bra’ in The Social Network. He’s still young though so there’s always hope we’ll get to see more of his soon.
Oh, and look out for the Blu-ray review of Shelter coming very soon. [Read more…]
On Friday we posted the first pic from the upcoming Toy Story toon that’ll be attached to The Muppets, ‘Small Fry’. Now a second image and a 30 second teaser clip have arrived, which you can see above and below. It’s just proof of how special Toy Story is that a new short featuring the characters can generate so much interest! In the short, Buzz Lightyear is left behind at a fast food restaurant when a kids’ meal toy version of Buzz takes his place. While Bonnie’s toys are stuck with the annoying three-inch-tall Buzz impersonator, the real Buzz is trapped in the restaurant at a support group for discarded toys. As Woody and the gang devise a way to rescue their friend, Buzz tries to escape the toy psychotherapy meeting. We’ll get to see ‘Small Fry’ when it plays in front of The Muppets when it arrives in the UK on February 10th next year.
Hello and welcome to Big Gay Picture Show! It may seem a bit late to say hello, seeing as there’s already news stories, reviews and other bits and pieces on the site, but all the stuff that’s already here has come from us testing out the site and getting things ready.
Now we’re going live, so we hope you enjoy what we’ve got to offer. We’ll be bringing you movie news from the world of gay cinema and the mainstream, reviews of everything we can get our hands on, plus plenty of other things we reckon you’ll find interesting (mainly because we do to).
We hope you enjoy the site and feel free to comment or get in touch with us, as we’d love to hear what you’ve got to say!
Ever felt like a paedophile? Well, you will after looking at this! The images above and in the gallery below are all of Jonathan Lipnicki, the kid who was vomit-inducingly cute when he lisped his way through Jerry Maguire at the age of six, and followed it up with the likes of Stuart Little and The Little Vampire.
Now he’s 21-years-old and trying to build a career as a grown up actor, and here he seems to be trying to get himself a bit of a gay fanbase with some ridiculously homoerotic wrestling shots (or is this some for of extreme coming out?). So take a look at the hotness below and we’ve also included a pic of Lipnicki in Jerry Maguire at the end, just so you feel horribly perverse and need to bleach your eyes. (Cheers to BeautyAndTheDirt for the tip) [Read more…]
Can a stroke turn you gay? Well if we’re to believe the tale being told by 26-year-old Chris Birch, yes they can! According to The Telegraph, welshman Birch was showing off to friends by trying to do a backflip at a rugby training session, but fell and broke his neck, which ended up causing a stroke.
When he woke up, well, Birch says, “I was gay when I woke up and I still am. It sounds strange but when I came round I immediately felt different. I wasn’t interested in women any more. I had never been attracted to a man before – I’d never even had any gay friends. But I didn’t care about who I was before, I had to be true to my feelings.”
He apparently quit his job in a bank, went off sports, decided to train as a hairdresser, turned from a 19st skinhead to a 11st preened man, and started dating a man.
To be honest there does seem something a little fishy about the story, but it’s tough to tell whether it’s the tale itself or just the reporting of it (some details seem to be slightly off, which makes me doubt things, such as with the various newspaper accounts liking the idea of him dumping a fiance after he woke up from his coma and became gay, even though he and his girlfriend were apparently on a break beforehand).
It certainly raises some interesting questions though. It is known that strokes can cause personality changes, but can they change someone’s sexuality? Or perhaps Birch was already gay, but the stroke opened up areas that allowed him to accept it. Who knows! (And of course there is the possibility things aren’t as they appear with this tale)
Talking about gay people in films is tricky. The reason for that is because for much of film history it was impossible to categorically say who was gay and who wasn’t. While it’s generally accepted that the sissy characters that were a quintessential part of 30s and 40s musical comedies, such as Edward Everett Horton in Top Hat (1935), were gay, it’s never explicitly mentioned. There was of course a good reason for that – homosexual acts were illegal and, indeed, it was one of the first things explicitly banned under Hollywood’s Production Code (AKA the Hays Code) in the early 1930s (it was classed as a sex perversion).
Sometimes it’s not even as easy being able to say that the character was gay but they couldn’t mention it. Take the 1895 movie that is now known as The Gay Brothers. It was made by Thomas Edison’s company as an experiment into sound filmmaking and features two men dancing. This is often taken as cinema’s earliest depiction of homosexual behaviour, but many have remarked that in the 1890s two men dancing wouldn’t have been particularly remarkable (it wasn’t until later that men felt unable to get within three feet of one another for fear of being labelled gay) and that the film was an experiment, so they could have just got two blokes who worked at Edison’s factory to dance in order to prove the sound was synchronised.
Things don’t get much easier after the end of the Hays Code era either. While characters could be openly gay, there’s been endless debate over whether many of the gay characters in movies have helped or hindered how society sees gay people. For example, was Nathan Lane’s cross-dressing Albert in 1996’s The Birdcage portraying a positive role model who was openly defying society’s conventions of what it meant to be a man, or was it just asking people to laugh at a camp person and turning gay people into a stereotypical laughing stock? Likewise, did Tom Hanks in Philadelphia help bring gay characters into the filmic mainstream, or did he just perpetuate the age-old idea of the tragic gay character whose main job is to die by the end of the film?
The result is that there is virtually no way to portray a gay character that will keep everyone happy – and that’s just among the people who think there should be gay characters in films in the first place (for example the United States Conference Of Catholic Bishops still rates nearly all films with significant gay content as ‘Morally Offensive’). Likewise, what was seen as enlightened in one era seems detrimental and homophobic in another. As a result the gay character has become one of the most complex in film history, being both visible and invisible, sexualised and impotent, lauded and derided, and both mainstreamed and marginalised.
Gay characters have been around almost as long as cinema itself. While there may be debate over whether The Gay Brothers really were gay, by the 1910s no silent comedian’s canon was complete without at least one film where they appeared in drag – as Chaplin did in A Woman – or where there was the hint of a same sex dalliance (although it would normally turn out that the object of affection was actually a girl pretending to be a boy). Silent film is rife with films and characters that play with sexuality and gender. Indeed stars like Rudolph Valentino and Roman Navarro became popular for their mix of the masculine and feminine. Some films were even bold enough to pretty much say if a character was gay, although not necessarily in a positive way, such as in Algie, The Miner (1912), where one of the characters is captioned as ‘One of nature’s mistakes’.
It’s also surprising that the first major male-male kiss came in the silent era. It wasn’t a minor film either. 1927’s Wings, which won the very first Best Picture Oscar, is also noted for the moment when Charles Rogers kisses Richard Arlen (in a platonic way), when the latter is dying.
It was partly because of the sexually androgynous and decadent characters that Hollywood had become fond of, that moral pressure was put on the studios to clean up their act. While both men and women swooned at the sight of Marlene Dietrich in 1932’s Morocco (1930), dressed in a tux and vamping it up on the stage for the delectation of both sexes, or Greta Garbo lustily kissing a chambermaid in 1933’s Queen Christina, the likes of the Catholic Legion of Decency were less impressed. As a result of the introduction of the Motion Picture Production Code (aka the Hay’s Code) in the mid-30s, overt depiction of homosexual behaviour disappeared from the screen.
One of the first casualties was Lillian Hellman’s play ‘The Children’s Hour’, about two schoolmistresses dealing with a student’s allegation that they are lesbians. Samuel Goldwyn bought the film rights to the play and was promptly told by the Hays Office that by all means he could make a film of it, as long as there was absolutely no mention of lesbianism in it at all. The result was These Three (1936), which dealt with allegations of a very heterosexual love triangle and had a happy ending, rather than the play’s tragic one.
This happened to numerous books and play adaptations from the mid 40s through to the early 60s. Tennessee Williams’ plays generally had all overt mentions of homosexuality removed for the screen, from Blanche’s dead husband probably being gay in A Streetcar Named Desire (1951) to the possibility of Brick and his dead friend Skipper having once been lovers in Cat On A Hot Tin Roof (1958). However while anything explicit was removed, filmmakers weren’t afraid to push things as far as the Production Code would allow them.
While various characters asking about or inferring that Brick is a ‘queer’ were taken out of the adaptation of Cat On A Hot Tin Roof, there are still hints about what was really going on for the members of the audience who were attuned to it. Likewise when Blanche talks about how soft and delicate her husband was, most in audience would have known what she was on about. (continued on next page)
Aww, look at him on his little bike. That’s Kevin Bishop above in one of the first pics from the new Brit flick May I Kill You, in which he plays a cycling vigilante cop who has his own way of dealing with London’s ‘scum’. Set against the backdrop of the recent London riots (recreated in Wimbledon). Take a look at some more pics from the movie below. [Read more…]