A sensitive response to a rich trove of movies.
A history of queer images.
Koresky, editorial director at New York’s Museum of the Moving Image, looks at movies made during the Golden Age of Hollywood, from the early 1930s to the early 1960s, to examine their representation of sexual identity. In contrast to Vito Russo, who argued in The Celluloid Closet (1981) that these movies contributed to the “marginalization, invisibility, and debasement” of gay and lesbian characters, Koresky discovers a more nuanced message: During the 25 years he examines, when the Motion Picture Production Code forbade representations of homosexuality, some movies subversively conveyed “stealthily progressive values,” rejecting “fixed identities” and stereotypical social roles. While movies such as Lillian Hellman’s The Children’s Hour, about characters struggling with same-sex attraction, reflected “the irrational, very American fear that queers will infect our most vulnerable, that their ‘sick and dirty’ perversions, once unleashed, are contagious,” other films, such as those directed by Dorothy Arnzer, who herself was gay, revealed the “camaraderie and emotional connection” among women, creating a “protofeminist perspective and a queer sensibility.” Koresky examines the work of many directors, including William Wyler, Vincente Minnelli, and Todd Haynes. Alfred Hitchcock, master of anxiety, created movies in which queer sensibility was unstated but implicit: Rebecca, for example, reveals a “queer female eroticism” by Mrs. Danvers toward her deceased employer. In other Hitchcock movies, disruptive forces, roiling below the surface, “put into relief the fragility of the bonds and boundaries of our everyday existence.” Koresky analyzes Judy Garland as a gay icon and probes the portrayal of the social outcast in Tea and Sympathy and in Tennessee Williams’ Suddenly, Last Summer. Such movies resonate for queer viewers, Koresky asserts, because they capture the longing for acceptance and vulnerability of those “deemed an aberration.”
A sensitive response to a rich trove of movies.Pub Date: June 3, 2025
ISBN: 9781639732548
Page Count: 320
Publisher: Bloomsbury
Review Posted Online: April 4, 2025
Kirkus Reviews Issue: May 1, 2025
BOOK REVIEW
A virtuoso performance and an ode to an undervalued medium created by two talented artists.
The veteran actor, comedian, and banjo player teams up with the acclaimed illustrator to create a unique book of cartoons that communicates their personalities.
Martin, also a prolific author, has always been intrigued by the cartoons strewn throughout the pages of the New Yorker. So when he was presented with the opportunity to work with Bliss, who has been a staff cartoonist at the magazine since 1997, he seized the moment. “The idea of a one-panel image with or without a caption mystified me,” he writes. “I felt like, yeah, sometimes I’m funny, but there are these other weird freaks who are actually funny.” Once the duo agreed to work together, they established their creative process, which consisted of working forward and backward: “Forwards was me conceiving of several cartoon images and captions, and Harry would select his favorites; backwards was Harry sending me sketched or fully drawn cartoons for dialogue or banners.” Sometimes, he writes, “the perfect joke occurs two seconds before deadline.” There are several cartoons depicting this method, including a humorous multipanel piece highlighting their first meeting called “They Meet,” in which Martin thinks to himself, “He’ll never be able to translate my delicate and finely honed droll notions.” In the next panel, Bliss thinks, “I’m sure he won’t understand that the comic art form is way more subtle than his blunt-force humor.” The team collaborated for a year and created 150 cartoons featuring an array of topics, “from dogs and cats to outer space and art museums.” A witty creation of a bovine family sitting down to a gourmet meal and one of Dumbo getting his comeuppance highlight the duo’s comedic talent. What also makes this project successful is the team’s keen understanding of human behavior as viewed through their unconventional comedic minds.
A virtuoso performance and an ode to an undervalued medium created by two talented artists.Pub Date: Nov. 17, 2020
ISBN: 978-1-250-26289-9
Page Count: 272
Publisher: Celadon Books
Review Posted Online: Aug. 30, 2020
Kirkus Reviews Issue: Sept. 15, 2020
PERSPECTIVES
A pleasure for fans of old-school historical narratives.
Avuncular observations on matters historical from the late popularizer of the past.
McCullough made a fine career of storytelling his way through past events and the great men (and occasional woman) of long-ago American history. In that regard, to say nothing of his eschewing modern technology in favor of the typewriter (“I love the way the bell rings every time I swing the carriage lever”), he might be thought of as belonging to a past age himself. In this set of occasional pieces, including various speeches and genial essays on what to read and how to write, he strikes a strong tone as an old-fashioned moralist: “Indifference to history isn’t just ignorant, it’s rude,” he thunders. “It’s a form of ingratitude.” There are some charming reminiscences in here. One concerns cajoling his way into a meeting with Arthur Schlesinger in order to pitch a speech to presidential candidate John F. Kennedy: Where Richard Nixon “has no character and no convictions,” he opined, Kennedy “is appealing to our best instincts.” McCullough allows that it wasn’t the strongest of ideas, but Schlesinger told him to write up a speech anyway, and when it got to Kennedy, “he gave a speech in which there was one paragraph that had once sentence written by me.” Some of McCullough’s appreciations here are of writers who are not much read these days, such as Herman Wouk and Paul Horgan; a long piece concerns a president who’s been largely lost in the shuffle too, Harry Truman, whose decision to drop the atomic bomb on Japan McCullough defends. At his best here, McCullough uses history as a way to orient thinking about the present, and with luck to good ends: “I am a short-range pessimist and a long-range optimist. I sincerely believe that we may be on the way to a very different and far better time.”
A pleasure for fans of old-school historical narratives.Pub Date: Sept. 16, 2025
ISBN: 9781668098998
Page Count: 208
Publisher: Simon & Schuster
Review Posted Online: June 26, 2025
Kirkus Reviews Issue: Aug. 1, 2025
SEEN & HEARD
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