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Thus, in order to ensure “the survival of subcultural identity within an oppressive society,” gay and lesbian film critics have employed a wide range of interpretive strategies to recuperate a history of homosexual images from the censored screen.
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6 Contemporary gay and lesbian film criticism of Production Code era films operates on the same principle, with the added limitation that historical evidence and homosexual “images” either do not exist or were censored. Like the Code’s authors, film critics tend to examine the film itself, and not the discursive acts that surround a film and play a sometimes central role shaping its meaning(s).
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either.” 5 In other words, reviews would generate interest on the basis of reading against the grain of censorship. 4 Their lack of concern with the “cold page” is ironic, since films were often based on popular novels and plays that dealt with themes the film adaptations could not, and, as Variety pointed out in 1936, “There’s nothing to stop reviewers’ commentaries and analogies to the original. These various interpretations were possible because, as one Hollywood sider lamented, “Magazines and newspapers have no Hays office-yet!” 3 The Code’s authors, however, were more concerned with the power of film’s “apparent” mimesis than with the “cold page” of books and newspapers. While Crowther used the film’s pivotal scene to warn readers, some reviewers even argued that the homosexual motivation was missing after all, but merely muted or left to the imagination. The New York Times film reviewer Bosley Crowther found Big Daddy’s line-”Something’s missing here!”-emblematic of what the Production Code Administration or Hays Office had done in prohibiting the suggestion of homo-sexuality in the film: left the filmgoer “baffled” at the lack of “logical conflict” and character motivation. And Brick, freed of the “powerful smell of mendacity,” invites Maggie to bed. Unlike the play, the 1958 film adaptation dances around an unnamed problem, until at one point Big Daddy roars, “Something’s missing here!” In the end, that something turns out to be case of idol worship that Skipper betrays. Perhaps, he suggests, there “was something not exactly right” in Brick’s friendship with Skipper, football buddy who drank himself to death. In the second act of Tennessee Williams’s 1955 play, Cat on a Hot Tin Roof, Big Daddy confronts his son Brick, who has become an alcoholic and refuses to procreate with his more than willing wife, Maggie the Cat.