Jack Lemmon and Željko Ivanek worked well together this 1984 gay movie.
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JACK LEMMON VS. GAY DIRECTOR: GUS WHO WON?
A male baret dancer [read: homosexual] named Barbette was hired to teach Curtis and Lemmon to walk heels, but after about a week, Lemmon cled his help. This was not admted 1957, and no one n blame a mercial movie of that era for lackg the urage or even the self-awarens that would have been so direct about a stctive homosexual relatnship. I don’t thk anyone uld ntemplate a remake of the film today whout seeg that there has to be a gay relatnship between lumnist and prs agent, a reliance that exclus the rt of life.
I am nfint that director Mackendrick and wrer Ots were not homosexual, though I’m ls sure that they didn’t unrstand the possibily of that relatnship and see an unrground life the stg. It was the late 1940s, as he thought of a show bs reer, that he started workg hard on his looks and his body, and when he felt people the neighborhood were thkg he might be gay. In those late 1940s—and still today—there is a wispread feelg that a lot of people show bs are gay.
That notn exists above and beyond the fact that there are more homosexuals show bs than most other profsns. Curtis grew up the movie bs wh a rps of very good-lookg guys, many of whom were clients of the agent Henry Willson, who cultivated gay actors who did not e out of the closet on screen—one of them was Rock Hudson, a ntemporary of Curtis’s at Universal. Not that matters now, but I don’t believe Tony Curtis was gay, ever.