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The Celluloid Closet: Homosexuality in the Movies Paperback – September 20, 1987
- Print length368 pages
- LanguageEnglish
- PublisherHarper & Row
- Publication dateSeptember 20, 1987
- Dimensions6.12 x 0.96 x 9.25 inches
- ISBN-100060961325
- ISBN-13978-0060961329
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- Publisher : Harper & Row; Revised edition (September 20, 1987)
- Language : English
- Paperback : 368 pages
- ISBN-10 : 0060961325
- ISBN-13 : 978-0060961329
- Item Weight : 14.9 ounces
- Dimensions : 6.12 x 0.96 x 9.25 inches
- Best Sellers Rank: #530,293 in Books (See Top 100 in Books)
- #772 in LGBTQ+ Demographic Studies
- Customer Reviews:
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Russo presents a panoramic view of homosexuality in the movies over nearly a century, beginning with an Edison experimental film of two men dancing a waltz and ending with gay-themed films that appeared toward the end of his tragically brief life. Some of these later films, such as "Parting Glances" with Steve Buscemi, represented a tremendous advance in the portrayal of gays on screen. Others, such as "Cruising" with Al Pacino, were so disgustingly violent and negative that they triggered street protests. In between, Russo presents some fascinating stories about early gay-themed movies, such as "Anders als die Anderen" (Different from the Others), a 1919 German silent starring Conrad Veidt as a gay concert violinist who responds to blackmail by committing suicide. The Nazis destroyed every copy of "Anders als die Anderen" they could find (in one case, Russo reports, opening fire on theater patrons in Vienna); only one partial copy, found in Ukraine, survives today.
Though some crirics have complained that Russo ignored social theory in his analysis, or that he failed to consider important gay directors such as Eisenstein and Fassbinder, "The Celluloid Closet" is still a fascinating and informative book. It's too bad no one has taken up Russo's torch. There have been articles and books about LGBT cinema since Russo's death in 1990, but nothing as magisterial as "The Celluloid Closet." I think Russo would be encouraged by the progress gays and lesbians have made in the cinema since his passing, and it would be nice if another Russo arose to record and assess that progress.
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The only major flaw of this book is that his author died of AIDS in 1990. Therefore, the book stops in the mid 80s. It offers no analysis of the incredible changes and yet shortcomings of the last 20 years.
Even though it now retails for a rather stiff price, it's certainly worth every cent. It will change your view of gay movies, of gay history but also of Hollywood and contemporary American history.