One of the movies that I was all set to watch was The Celluloid Closet, from 1995.
In retrospect, I am almost positive that I either read about the book version in Alternate Channels in my reading three years ago or that it was mentioned when I was watching Disclosure two years ago.
Somehow in planning ahead I had only remembered the movie, but in watching the movie and reading about it there were clear references to the book.
The Celluloid Closet (Revised Edition): Homosexuality in the Movies by Vito Russo
Also, when I was looking up the DVD to borrow it from the library, this other movie kept coming up, Vito from 2011.
Here's how it all went down:
Vito Russo was a film buff and critic who put on festivals, wrote, and gave lectures on film history. Through his connections he got some great archival access that eventually led to his writing of The Celluloid Closet book. (This is simplified, but there are resources to learn more.)
That came out in 1981 and he died in 1990.
Russo had wanted the book to be turned into a documentary. He was helping Rob Epstein and Jeffrey Friedman with that from about 1986, but his health was declining and they didn't get any real traction until 1990 when a British television channel expressed interest. Then, about 21 years after that, Jeffrey Schwarz made a documentary about Vito's life, Vito.
For a little background information, Rob Epstein will be coming up with some other films. I was not previously familiar with Jeffrey Schwarz but he seems to focus on films that profile an individual, so one focusing on the person made sense.
For The Celluloid Closet, I saw the movie before I read the book. If I was amazed at how thorough the movie was, with that book as its inspiration it makes sense. Russo's knowledge of film was broad and deep.
As I was thinking about what films might come up, with one notable exception they were all covered.
Also, there were movies in there that I had never heard of or that I knew but had things that went completely over my head.
I had been thinking about the Hayes Code on and off since our Warner Brothers Studio Tour, but I learned a lot from the book and movie. Perhaps most interesting was that Hitchcock liked pushing it and that Preminger was actively trying to break it. While the book's focus was the portrayal of homosexuality on film, of necessity it also deals with the perceived morals and purposes of film.
Possibly one reason it was hard getting interest in the documentary was that the book was seen as somewhat negative and maybe a little bitter. The documentary ended up being more positive.
There are two things with that. One is that Vito did want the documentary to be entertaining; he was not just a scold. He loved film even when it frustrated him. If he was at times negative, there was good reason for it.
Another part of that, though, was that the filmmakers were feeling more optimistic. Part of that was the reception of Philadelphia (1993). (The Birdcage did not come out until after The Celluloid Closet, though I believe I remember references to La Cage aux Folles.)
Here's the thing: one of the big themes of the book was the tendency to kill gay characters, even if they were very sympathetic.
I kind of remember this as a phase that movies go through with multiple marginalized groups. When they are moving up from only being villains (and maybe some extras) but still not getting to be lead characters; they become the one you really like who dies.
Also, I can't help thinking that while there may be sensitive portrayals in Philadelphia, the guy dies. It's about an AIDS case, so that's expected, but still, death.
But what I was really thinking of was "Clexa."
Full disclosure, I have not seen a lot of these movies, and I never watched The 100, a series that ran from 2014 to 2020.
I am, nonetheless, on the internet. There were people who 'shipped Lexa with Clarke (both girls), and as soon as they consummated the relationship, Lexa was shot and killed when Clarke was the target. (Then, later, Clarke marries a dude.)
Twenty years after The Celluloid Closet film came out, this led to much discussion about "bury your gays."
https://www.hollywoodreporter.com/tv/tv-news/bury-your-gays-why-100-877176/
From the article there were three other prominent deaths at the time. Maybe those characters weren't part of ships.
There are other shows and movies. Hallmark has some holiday romances and Heated Rivalry is really big now, but Elio and Strange World didn't really get promoted. I am not saying there hasn't been any progress, but I am not sure how optimistic Vito himself would have been.
Therefore, when his final screed (I think this was from 1987 edition) was largely telling gay people not to look to Hollywood, but pursue independent films, I think he had a point. To be fair, there are other reasons to make that point as well.
Anyway, this is a good read and watch list for anyone interested in film, and Vito will come up in one of the other films.
Now I would like to get to that exception.
In 1941's Suspicion, there is a subtle but pretty clear lesbian couple, Isobel and Phyllis. I read it as kind of a Gertrude Stein/Alice B. Toklas vibe, but it's there, and accepted without being a big deal. Neither Celluloid Closet mentions it.
One other film step for marginalized groups is to become background characters who don't do a lot but exist unmolested, which is still something. Maybe Hitch was trying to fast forward to that.
I did do some searches to see if anyone else cared. I do have the internet.
I found two posts:
http://thefilmexperience.net/blog/2013/6/30/great-moments-in-gayness-suspicion.html
So it's not just me.