ROGER MOORE GAY CODE
In Sirk's films you often have the feeling that part of the plot is in code that one kind of forbidden love stands for another. Todd Haynes says he had three specific inspirations: Douglas Sirk's "All That Heaven Allows" (1955), which starred Jane Wyman and Rock Hudson in the story of a middle-aged widow and her handsome young gardener Sirk's "Imitation of Life" (1959), with Lana Turner as a rich woman whose maid's daughter (Susan Kohner) passed for white, and Max Ophuls' "The Reckless Moment" (1949), about blackmail. "Far from Heaven" uses superb craftsmanship to make this film look and feel like a film from the 1950s.
ROGER MOORE GAY HOW TO
A psychiatrist ( James Rebhorn) muses about "aversion therapy" but warns that the "majority of cases cannot be cured." Frank drinks heavily and turns ugly, and Cathy's feelings for Raymond grow, but she has no idea how to act on them. Frank's homosexuality of course remains deeply buried. Soon people start to "talk," and Frank, the hypocrite, screams at her about all he's done to build up the reputation of the family, only to hear these stories. Only that-"seen." Once when they take a ride in his truck, they enter a black diner, where their reception is as frosty as it would have been in a white place. Publicly, word starts to get around that Cathy has been "seen" with the black gardener. The plot advances on a public and a private front. Whitaker and I support equal rights for the Negro." Raymond looks at her level-eyed and says, "I'm happy to hear that." He has a business degree, but has inherited the same gardening business that supported his father a widower, he dotes on his 11-year-old daughter. Cathy is not attracted to Raymond so much sexually, however, as she's in awe of his kindness and beauty, which is so adamantly outside her segregated world.
ROGER MOORE GAY MOVIE
This is not a movie that knows more than was known in 1957, but a movie that knows exactly what mainstream values were in 1957-and traps us in them, along with its characters.įrank and Cathy have no sex life. The movie accurately reflects the values of the 1950s, and you can see that in a scene where Frank says his homosexuality makes him feel "despicable" but he's "going to lick this problem." The key to the power of "Far from Heaven" is that it's never ironic there is never a wink or a hint that the filmmakers have more enlightened ideas than their characters. One night Cathy makes the mistake of taking Frank his dinner when he works late, and opens his office door to find him kissing a man. One night Cathy has to pick him up at the police station after an incident involving "one lousy cocktail." In another scene we see him enter a gay bar, where in these days long before Stonewall, the men exchange furtive, embarrassed glances as if surprised to find themselves there. Cathy, who has a good heart, instinctively reaches out to touch Raymond on the shoulder in sympathy, and inside the house the gesture is noted by Celia, who adds to her profile that Cathy is a "friend to Negroes." Frank Whitaker is one of those big, good-looking guys who looks like a college athlete gone slightly to seed, or drink. He introduces himself: Raymond Deagan ( Dennis Haysbert), son of their usual gardener, who has died. While being interviewed by Celia, Cathy sees a strange black man in the yard, and walks outside to ask, ever so politely, if she can "help" him. Mona Lauder ( Celia Weston), the local society editor, is writing a profile about their perfection. Their little son is reprimanded for rude language like "Aw, shucks." Of course she drives a station wagon. They live in a perfect split-level house on a perfect street, where the autumn leaves are turning to gold.
They are the Whitakers, Cathy and Frank ( Julianne Moore and Dennis Quaid).
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