Things I Learned From the Movies Blogathon: On the Topic of Human Sexuality

Pre-Amble

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Now, I know that sounds like a dissertation title. However, the approach I’m planning on is a bit freeform, personal, and as all encompassing as I can be with such a huge topic.

I will limit myself somewhat as the nuance and intricacy of human sexuality this could be a much, much longer piece than it already is.

Introduction

The other day was National Coming Out Day. I didn’t post anything specifically about the day because as fate would have it I was actually doing quite a bit of other writing on that day. What I wanted to say on that day was probably more appropriate on a day like today then on the actual day.

A day such as that is not an appointment to be kept, to be either taken advantage of or passed over. It is a day of recognition, of noting those who have taken the step and come out; a day of sharing stories and support. When I was in the closet to the world I kept thinking some specific date or deadline would force my hand. It never did. I wasn’t ready until I was ready. So that was my message for the day: it’s not a compulsory day but rather a day that can be used to show those in struggle that it’s safer than they imagine to take that step.

Usually the blogathons I’ve signed up for have either been review-oriented or could be more academically approached. This one is different because it’s inherently personal, and the topic I selected made it impossible to stray from being candid. It’s about what you have taken away from seeing a movie. Frequently that thing may not even have been the intention the film has but no two people ever see the same film.

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Some of these films are LGBT films, some aren’t, but all make a singular point I didn’t take away from other films. Hopefully in underscoring many of these films I have a diverse cross-section. The pride flag is a rainbow for a reason: it’s all-inclusive and highlights differences. Too often underrepresented groups want the whole of their identity enveloped in a character or two, which is an impossible ask. We’re past the point of being merely stereotyped. Characters have to be themselves and not representative of all subsets and subcultures.

The Films

Where I Learned: A Little More About Myself Than I Wanted To

This Boy’s Life (1993)

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This Boy’s Life was a film I first saw on cable while in Brazil. I watched it with my uncle. It’s a captivating story of Toby (Leonardo DiCaprio) living with an intolerable stepfather (Robert De Niro), finding his voice as a writer, and trying to make it out of a toxic home life.

I was a teenager when I saw it and not entirely self-aware. At some point in the film the character of Arthur (Jonah Blechman) is introduced. Being set in the 1950s with the kind of character DeNiro is the homophobia directed toward him is quite overt and something he just has to deal with. This was probably the first film wherein I was consciously smitten with a male star and I identified with Arthur’s plight all the more for it, but I was self-conscious about it. So when the famous scene where Arthur steals a kiss on Toby’s cheek while they’re singing comes about I felt defensive. I felt as if my facial expression was readable or else some of my thoughts were. I felt the need to say something to cover.

“I’d punch him!” I blurted out.

My uncle without hesitation said “You don’t have to do that. You just say ‘I’m not like that.’”

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I was still a while away from admitting I was like that even to myself much less out loud, but the film and scene are important for a number of reasons. In that scene you can actually look at it a few ways: there is of course the obvious viewing it as a romantic overture. However, they are close and having a good time. Arthur is wordlessly expressing his gratitude of having someone to sing with. By midcentury homophobic fears had sufficiently strangled men showing affection for one another in verbal ways much less physically was verboten. And in that second reading it’s almost more important, but the lack of judgment that Tobias shows at that moment is important in and of itself and it’s a hallmark of many of these films either in isolated scenes or as a whole.

Where I Learned About: Coming Out of the Closet

Ellen (TV 1997)

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Yes, it’s a TV show but there are plenty of movies on the list, calm down. This was the first coming out I was ever conscious of. It was probably where I became familiar with the phrase and its meaning. I already liked this show, so I was curious to see how it would go, especially since it was announced beforehand. I think it went brilliantly.

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The sad reality of TV especially on a sitcom, where constancy is prized, it was too big a change for the show and maybe for the country as a whole at the time. I’m glad to see where we, ABC, and the Walt Disney Company has come since then.

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Where I Learned: Bisexuality is Real, Lust Can Make You Crazy, And How To Love The Femme Fatale

Basic Instinct (1992)

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Firstly, I must apologize that it needed to be phrased as such. Sadly, there is a stigma that exists that there is no such thing as bisexuality. Everyone’s path to self-discovery is slightly different. Mine included a time when I identified myself as bisexual. Growing up tremendously quiet and withdrawn in certain social situations most of my deductions about my true identity was all based on the internal battle with no real experience to draw any definitive conclusions from. In that time I experienced that stigma first hand. No sooner had I identified myself as bisexual I got the “lecture” in an online conversation about needing to decide, and you “can’t have the best of both worlds.” It was a rude awakening. When it came time when I had to face if I could make real emotional and physical commitments one way or the other is when I learned the truth for sure, no one’s ultimatum was going to do it for me.

Having been someone who always accepted that a duality is not only possible but real suspension of disbelief was easy in this film. The hurdle I really had to get over, involved what I learned most about how lust, and the adrenaline rush that Nick Curran (Michael Douglas) feels is what makes his character so vulnerable.

Before I ever watched a long-running horror franchise in full I saw this, it may be the first villain I ever embraced, thanks in large part to Sharon Stone’s performance. She fully embraces the femme fatale role.

Where I Learned: About the True Toll of AIDS

And the Band Played On (1993)

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For the most part I never fell victim to any falsehoods about HIV or AIDS. Magic Johnson’s announcement coming in my formative years was quite helpful. However, the mysterious, terrifying, and most tragically inactive (from a Federal Government standpoint) I was too young to realize what was happening. This film enlightened me.

Where I Learned About: Persecution in a Bygone Era

Paragraph 175 (2000)

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In outlining a dogma of hatred there has to be a public enemy number one designated. In the Nazi regime that target was the Jewish people. The Nazis were by no means singleminded in whom they considered enemies of true Aryanism. Estimates of Romani, or Gypsies as the more commonly referred to, deaths range from 220,000 to 500,000. Marzahn was the first concentration camp used for Gypsies. Many then went to Auschwitz-Birkenau, Chelmno, Belzec, Sobibor, Sachsenhausen, Buchenwald, Dachau, Mauthausen, and Rävensbruck.

The documentary Paragraph 175 takes its title from the German Criminal Code at the time that discussed prohibitions on homosexuality. Since the persecuted could be of either gender and of any race or creed there aren’t precise statistics. However, documentation of state-sanctioned ostracism, arrest, and murder of homosexuals in the Third Reich following the edicts of Paragraph 175 are documented.

Such as:

  • Banning of Gay organizations like the Institut für Sexualwissenschaft run by Magnus Hirschfeld
  • Banning scholarly writing on Homosexuality and sexuality in general.
  • There were 100,000 people arrested as homosexuals; 50,000 were sentenced.
  • Homosexuality in any form was outlawed, but as per usual in these historic incidents the brunt of the force of said policies fell upon gay men.
  • The Gestapo compiled a list of homosexuals and forced many to conform to the “German Norm”

Where I Learned About: More People See False Morality

Léolo (1992)

Léolo (1992, Fine Line Features)

False morality is not an exclusively North American phenomenon, but we do have our own special brand. This was underscored in specificity as something other have noticed in this film where students never learned the English words for “those things” in class.

The topic comes up as Léo introduces us to their school’s guide to English; the omnipresent John and Mary. The schooling they were receiving was still very recitative and in this litany of body parts that the francophonic children learned there was a glaring absence: reproductive organs. Yet, Léo, and some of his other classmates had begun to discover these parts of their anatomy had other functions that were heretofore unknown to them.

So immediately Léo is complaining about the injustice of forced ignorance. In the guise of sheltering the children and preserving their fleeting innocence they are left to discover sex between “ignorance and horror,” as Léo says. And with no demystification from anyone elder in their life how else can this discovery occur. Surely, for some the repercussions of this will be minimal, but for others who knows how much of a negative impact this had on their development.

Where I Learned About: Transitioning

Transamerica (2005)

Transamerica (2006, IFC Films)

Aside from learning not to expect true greatness to be recognized by the Academy, even when nominated; this film opened my eyes on the emotional toll a person will pay when undergoing gender reassignment. Before and after the fact there will be grieving over lost time, opportunity, reclaiming identity, striving for a new future while incorporating a difficult past.

Aside from Felicity Huffman’s brilliance there is so much to experience and feel in this film.

Where I Learned About: Differentiating Sexual Identity and Orientation

Prodigal Sons (2008)

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For those who like axioms this one stuck out to me as I was seeking to learn more about what the transgendered experience is like, when being asked about why it is some people who have gender reassignment have heterosexual relationship and some have homosexual relationships, one woman answers perfectly and made me understand the magnitude of that journey; to paraphrase what she said: look in a mirror and ask yourself does what you see match how you feel inside? Most people will say yes. Look around and who are you attracted to.

That’s it. That is the difference between sexual identity and orientation. I have not in my life ever felt that specific emotion when looking at myself in a mirror. I never felt torn against myself for the very skin I was living in. I felt isolated, conflicted emotionally, and at war with where my mind and eyes would wander, and with whom I sought to be closer with amorously and amicably, but not something that fundamental.

Wherein: I Re-Examined a Film with the Topic of Sexuality in Mind (and Found a Road Less Traveled)

The Silence of the Lambs (1991)

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After being reminded of the fact that the character of Buffalo Bill was a controversial one in the LGBT community took offense to – on a doc about it and I believe The Celluloid Closet (below) does touch on it. There were angry protests and signs about how the film seemed to vilify a transgendered person. When watching it with this in mind, I came away unconvinced, and not just because of my axiom of needing to understand that one character does not a whole demographic represent.

Bill’s situation is exacerbated by two factors: he was not given the go-ahead for surgery in psych evaluations and he specifically has sociopathic and psychopathic tendencies. Bill reacts violently and irrationally to the circumstances facing him. A vast majority won’t.

Looking at the film focusing merely on the aspect of sexuality there is no evidence, as it is played in this one film, that Clarice Starling is a heterosexual woman, aside from the assumption we’re societally conditioned to have that everyone is “straight unless proven gay.”

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To my mind this dubious, and nebulous nature of her sexual orientation is underscored by her subtle disregard for being objectified by men while jogging around the FBI’s training compound.
So if we’re viewing the film through a prism of presumed sexuality, and as I see it  there are heterosexuals, one lesbian, and one man longing for a sex-change. There are characters across the spectrum.

Where I Learned: Sometimes Film Theory Has To Go Away

Thelma and Louise (1991)

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Learning film theory can be dense and difficult to most. However, there is a value to it and learning to analyze in terms of interpretations that may not even even have been made by design. It can be the only to enjoy some filmmaking styles like certain New Wave films or works of magical realism. However, never is this subject harder to learn than when you just disagree with a theory.

I fully understand the visual cues and character roles and attitudes that lead those to argue that Thelma and Louise becomes a lesbian tale by proxy. The reason I don’t buy it is because I cringe at the notion that any movie that includes an “I don’t need no man” sentiment is promoting lesbianism (Frozen) or the very sexist attitude that treats lesbianism as a choice whereas being a gay man is a sentence.

Thelma and Louise is many things: flawlessly structured, brilliantly acted, a masterpiece, a tremendous feminist statement, up there with The Accused but it’s not a lesbian story. Not to me.

I fully get and support the notion that due to a lack of representation individuals in the LGBT community can cling to characters that were not designed to represent us, and that is a healthy and normal thing, one instance from my childhood that comes to mind is Flower in Bambi.flower

Ma Vie en Rose (1999)

Where I Learned: Being Comfortable Can Change How You See the World

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Cinematically speaking, in the opinions of most, children are seen as lower beings on the totem pole. Too often children are societal afterthoughts when decisions our leaders are making now are molding the very world they seek to inherit. So there can be a great amount of coddling and shielding in film and society. However, those with a sensitivity, understanding, and appreciation can make changes, insights and be of help.

Ma Vie en Rose tells a tale of a common childhood activity, cross-dressing, through the eyes of a character who takes it to an uncommon degree and finds more comfort and joy in it than most. Even with social norms varying from country-to-country, this film being set in France doesn’t change many of the reactions to this.

The beauty seen in the world through the eyes of its protagonist is a breath of fresh air and can be an eye-opener to many about acceptance as opposed to tolerance.

Where I Learned: About More Nuances of Sexuality and the False Equivalency Tranvestites Face

Dress to Kill (1999)

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For those who need simple axioms by which to live, and learn better whilst being entertained Eddie Izzard can be a great means of enlightenment. His discussion on “weirdo transvestites” and “executive transvestites” and him describing himself as a “male lesbian” are as insightful as they are funny.

Where I Learned: Stories of First Love Don’t Have to End in Tragedy or Heartbreak

North Sea Texas (2011)

Why I start with a book will soon make sense…

 

One of the defining books of my teenage years was The Bitterweed Path. It was among a select few books I read when I was visiting family in Brazil. My grandmother has accepted a trove of books in English that she had no use for as she reads solely in Portuguese and French.

It’s a wonderful tale of an unrequited, unfulfilled love at the turn of the 20th Century. It meant so much to me, in the edition I read, that I asked for it to be be specially bound like my Grandmother and aunt sometimes do. It was quite a chore for the bookbinder but still holds an honored place on my shelf. But not all stories need be like that to work.

North Sea Texas (2011, Strand Releasing)

Here’s a perfect example. After I learned that much to my surprise North Sea Texas was nominated for a GLAAD Media Award I wrote the following:

However, what North Sea Texas strikes upon, and what makes it work so well and so important is that it’s an idealistic tale. It reminds me of a debate I and a professor had about the Indian film Fire in college. His criticism of the film was that the revelation of, and the familial objection to, a sexual abuse situation was unrealistic. My assertion was “Why should it be?” If you’re trying to make a point be it societal, political or otherwise, there are times when the best way to make it is to seek out an ideal and illustrate it, rather than just illustrating that the problem exists.

 

Where I Learned: It Has Gotten Better, Or Stereotypes Used to be Much Worse

The Celluloid Closet (1996)

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Yes, the picture is an outlier, a maverick.

While you can note issues that still exist you cannot understand how the present is better without looking to the past. Documentaries like this and Reel Injun do well to highlight the way in which marginalized populations have been treated onscreen through the ages. Outliers are as noteworthy as patterns and improvements can be noted across the board with improvements and continued, diversified representations appearing frequently.

Where I Learned: You Don’t Even Need to Say the Word “Gay”

In the Family (2011, In the Family)

On the film In the Family I wrote the following:

the film could be handled differently and still work but then it would run the risk of pigeonholing itself as a gay film, or a racial film or a courtroom film, depending on how the plot unfolds. It could quickly become maudlin and melodramatic. However, in restraining its emotion, allowing it to build in its characters and its audience it creates a tremendously universal and human story that I’m sure many can relate to, whether it reflects anything in their life or not. One example of the restraint, and a litmus test of sorts for films with gay themes, is that the words “gay” or “homosexual,” or any pejorative variation thereof are not spoken. This is a clear choice it seems that underlines both the humanity of the story and the underlying hostilities and prejudices that exist.

Where I Learned: Parting is Such Sweet Sorrow

Billy Elliot (2000)

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The musical adaptation of Billy Elliot amplifies virtually all the emotion in the tale. Aside from the obvious that dancing or liking it does not determine one’s sexual orientation, this one selection closes the circle from the beginning of the post.

Billy Elliot (Jamie Bell) is not a poofter as the vernacular would state it. Despite the fact that Michael (Stuart Wells)  is not fully self-aware for a majority of the film, he is gay. Michael’s pain at losing his best friend when he goes off to the Royal Ballet School will be massive. There is no expunging it, it can scarcely be mitigated.

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Billy’s kiss on Michael’s cheek is not a pandering gesture by a character or in filmmaking terms. It’s a simple, beautiful act of friendship. One that on its own is tear-jerking but sets up the end of the film beautifully: Billy makes his professional debut. Of course, Michael is there. So glad are we that he is both happy and supporting his friend that the coincidence of his sitting next to Billy’s dad can be forgiven.

Bonus Features

A few titles, scenes, and moments that came to mind where words are a bit unnecessary; the images say it all. Enjoy!

Where I Learned: Cartoons Can Make You Feel Uncomfortable

Who Framed Roger Rabbit (1988)

 

Where I Learned: It’s Real Awkward When You Get What’s Going On in Some Performances at Madonna’s Blond Ambition Tour and You’re There With Your Dad

Where I Learned: Some People Are Gay, and That’s OK

Mrs. Doubtfire (1993)

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Where I Learned: Dancing Can Be Sexy 

Look Who’s Talking Too (1990)

Where I Learned: You Will Have To Come Out More Than Once Whether You Like It or Not. Thanks for Bearing With Me!

Coming Out (Part 2) by Troye Sivan

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Short Film Saturday: Papa Don’t Preach

In honor of Madonna’s birthday I am posting one of her videos, which always had a tendency to be cinematic. Here aside from an opening montage there is also Danny Aiello playing the role of her father.

Short Film Saturday: Vogue

Here Madonna again (the theme started here) not only gets cinematic with many of the visuals emulating the halcyon days of Hollywood both on film and in promotionals stills but there are also references to many of the biggest stars of yesteryear in the lyrics.

More specifically with regards to the photos here’s what the Wikipedia article says about the images. To check the sources visit the actual page:

Filmed in black-and-white, the video recalls the look of films and photography from The Golden Age of Hollywood with the use of artwork by the Art Deco artist Tamara de Lempicka and an Art Deco set design. Many of the scenes are recreations of photographs taken by noted photographer Horst P. Horst, including his famous “Mainbocher Corset”, “Lisa with Turban” (1940), and “Carmen Face Massage” (1946). Horst was reportedly “displeased” with Madonna’s video because he never gave his permission for his photographs to be used and received no acknowledgement from Madonna.[29] Some of the close-up poses recreate noted portraits of such stars as Marilyn Monroe, Veronica Lake, Greta Garbo,[30] Marlene Dietrich, Katharine Hepburn, and Jean Harlow. (Additionally, several stars of this era were name-checked in the song’s lyrics.)[31] Several famous Hollywood portrait photographers whose style and works are referenced include George Hurrell,[32][33] Eugene Robert Richee,[34] Don English,[35] Whitey Schafer, Ernest Bachrach, Scotty Welbourne, Laszlo Willinger, and Clarence Sinclair Bull.[36]

Enjoy!

Short Film Saturday: Cherish

Continuing the Madonna theme this month, which began last week, we come to a video that is not only in black and white but has a bit of a story to it also “Cherish.”

Here’s some interesting info about the video gleaned from Wikipedia. Some of it pertains to the production and release and the last paragraph gets into interpretations of the motifs, which you are always advised to take with a grain of salt. If you want to look into what the sources are, you can visit the original article here.

“Cherish” was accompanied by a black-and-white music video that was directed by Herb Ritts and was filmed on July 22, 1989 at Paradise Cove Beach in Malibu, California. Its world-premiere took place on MTV on August 28, 1989.[47] Ritts was one of Madonna’s preferred photographers at that time and so she asked him to direct the “Cherish” video. Ritts reportedly tried to talk her out of it saying, “But I’m a still photographer. I don’t know anything about film.” Undaunted, Madonna replied simply, “Well you have a few weeks to learn.”[47] The video was conceptualized by Ritts, who wanted to portray Mermen in their natural habitat, but Madonna baulked at the idea since she wanted to be portrayed as herself, but keep the Mermen also.[47] Four male performers were signed for this, one of them being Tony Ward, who would become Madonna’s boyfriend later, with the other three being water polo players from nearby Pepperdine University.[47] There were four Merman tails created by Global Effects in North Hollywood, California, for the video.[47] Three full size tails for the mermen were cast in a solid highly flexible rubber, each weighing around 40 lbs. This was necessary to make them neutrally buoyant in water as lighter tails would have floated, causing the swimmers to be head down in the sea.[47] Once in these tails, the polo players needed to be carried to and from the water and once inside, they had tremendous swimming power and agility. This was partly due to a plastic spring like armature cast into the flipper of each tail.[47] One of the reasons that this video was shot in black and white was because the water was very cold, causing Madonna’s already pale complexion to look even whiter.[48]

Fouz deduced a relationship between the music and the images in the video for “Cherish”, saying that they complement each other; the author felt that this in turn encouraged the viewer to watch the video repeatedly.[49] Fouz talked about the balancing of height and depth occurring in the video. The visual depictions of the Mermen and the lighting used in the video was influenced by Ritts’ still photography known as “The Male Nude Bubble”, which showed nude male models inside a giant water tank, with a white cloth entwined around them. Many of the qualities in the photos, including the floating nature of the models, were used in the swimming and the posing of the Mermen.[49] Carol Vernallis, author of Experiencing Music Video, found homoerotic connotations between Madonna and the Mermen. The Mermen in the video exist in a self-contained world of their own, where they procreate with their own kind, both biologically and socially. The fact that the Mermen did not seem to possess genitalia led Vernallis to believe that it associated them with Ritts’ other works, homoerotic sculptural images without penis.[50] Their tails drew different meanings, including sexual ones and Christian symbolism. Since in contemporary art, the images of Mermen are rare and Mermaids are prominent, they are sometimes called fairies partly because it is not known how they came to be.[50] Vernallis believed that the mysteriousness and the elusiveness of the mermen in the video played a crucial role. They never address the camera directly and are often shown disappearing from view.[50] Vernallis believed that since invisibility is a central theme in the homosexual community, this actually portrayed oppression and also the desire to watch but never be seen.[50]

Short Film Saturday: Sooner or Later

This August, on the 16th specifically, marks Madonna’s birthday. I’ve had occasion to discuss Music Videos and their cinematic tendencies on occasion here, but I never really focused on them during a Short Film Saturday. So during this month I will feature some of her more cinematic, or cinematically-inspired ventures.

This first video for the song “Sooner or Later” plays both into the music and the film of the 1940s as it was produced to accompany the 1990 film Dick Tracy.

Once Upon a Time in the 80s: Music Videos (Part 9 of 17)

This is a recapitulation of a paper I did in college. This is part eight in the series to read other parts go here.

The music video of all visual art forms probably had the shortest period of time where it was a true art. If you look at music video now it becomes more and more rare to find one that attempts to portray some kind of narrative it has become what the artists originally feared merely a showcase for a song and an artist who looks like they should be an actor. The 1980s, however, offered some very unique and experimental ventures in this new medium.


MTV, which once upon a time stood for Music Television, launched in August of 1981 and it debuted with one of the better videos they ever aired called “Video Killed the Radio Star” by The Buggles. Artists debated the intrinsic value, or lack thereof, of music videos Hall & Oates were opposed to them and Madonna was in favor of them citing that musicians when on stage acted and this was just a different medium. Fitting that she would make such a statement because Madonna was a pioneer of the video every bit as much as Michael Jackson.


If pressed to find an end for the music video as an art I’d point to Milli Vanilli’s efforts in 1989. They were two dancers who were hired by a record company to lip-sync their way to fame. They won a few Grammies and were found out in 1990. After that point the packaging was no longer hidden and videos became less and less about anything but putting visuals to a new single. But the music video was already a staple and here’s how it came about.


Experiments like David Bowie’s “China Girl” soon became more refined, and even cinematic, like Madonna’s homage to Marilyn Monroe in “Material Girl.” There was the irreverence of The Cars in “You Might Think” and then there were masterworks in the genre as well. One of the best videos of the 80s is undoubtedly Billy Joel’s “Pressure” it’s a visual romp, with images that add to the despair and, well, pressure of the lyrics, nothing is really explained by the lyrics and the images don’t mimic the song. It’s truly great. Billy Joel also managed to cram all of Americana since the 1950s in a three minute video for “We Didn’t Start the Fire” it is such a kaleidoscopic approach to a song which is literally going over world events while we get the portrait of a household changing while the world around it burns down.


Thriller (1983, Epic Records)

Michael Jackson’s “Thriller” is probably the most important video in music history. It was treated and packaged like a film. Jackson got John Landis (An American Werewolf in London) to direct it and there was even a making of special. Nearly all of Michael Jackson’s other videos are better but this is the one that set the stage for how he approached them. It is labels and artists merely only looking at his videos as singing and dancing numbers that have bred a lack of originality and the pathetic state of the music video today. No one has to given as much thought to narrative and production since and are only concerned in the superficial most of the time, unlike Jackson.


Madonna, meanwhile, love her or hate her, has always been doing something different. In the controversial “Like a Prayer,” she falls in love with a modern day martyr who is accused of a crime he didn’t commit. In “Open Your Heart,” she’s a stripper who becomes a boy’s obsession, in “Express Yourself” she leads a revolt in a video that was based on Fritz Lang’s Metropolis, in two videos shot in black and white “Vogue” and “Oh Father” she takes two different approaches celebrating sensuality in one and lamenting a death in another.


If and when another media savvy and quality performer comes about the music video may be revived. It is still an art form with a great deal of potential to entertain because by its very nature it combines two of the most powerful elements in entertainment: music and the motion picture. The music video is for the most part a marketing tool, but every once and a while it does spasm and let a bit of art come out.

My Year in Film: 1987

So here’s another retroactive list from me. I think it’s safer to assume that this one is more tinged with nostalgia than the 1994 one. In this case, I believe a majority of the films included are ones I saw during or shortly after the year for the most part. Well, in terms of the American releases. Now, in 1987 I was five and six years old, meaning I was just starting my schooling.

I believe most of the films I saw were video or HBO selections. I specified American films above because there are some great foreign titles, that need no disclaimer, which I discovered later on that were released in this year. As for the disclaimer: you see what my relative age was when the films came out or when I got to see them, therefore that is your grain of salt. Again, as I did before, I will stress that the way I assemble this list is usually based on its noteworthiness in my estimation and not necessarily its impeachable quality. However, I will discuss that a bit with each film that’s included.

One thing that’s interesting to note is that this post serves a function as a replacement (and possible prelude) to a series I wanted to do this year. If you take 25 years of age as the youngest a film can be to be considered a classic then the film class of 1987 would be eligible this year. It’s interesting to examine what holds up and what doesn’t after all that time.

Some personal entertainment-related milestones for the year include: my favorite thing in the world was ALF (such that I had a lunch box and much more) and if memory serves I was a year away from my first theater-going experience. For I seem to recall that being Bambi and per the IMDb the only re-release I would have memory of occurred in 1988. Also, I don’t think I watched the Super Bowl for another few years but I knew that the Giants had won.

Without further ado, the list, which is in no particular order:

1. Blind Date

Blind Date (TriStar Films)

Of the 80s movies that made Kim Basinger a star, and for a time one of my favorite actresses, I’m not sure I like this more than something like My Stepmother is an Alien, however, both that and this are so hazy in my memory I can’t honestly tell how they hold up, but I remember adoring them at the time and it’s definitely a marker for the year.

2. Amazing Grace and Chuck

Amazing Grace and Chuck (TriStar Pictures)

In a paper I wrote about the 1980s I discussed this film at great length. It was a truncated repost on this site that I’ll start over, however, suffice it to say I think there are few films that are as resoundingly a product of their times than this is. I discovered it much later and love it.

3. Innerspace

Innerspace (Warner Bros.)

I’m not sure it’s possible to chronicle a year in 1980s without including a Joe Dante film. As is the case with a lot of films on this list I haven’t seen them in a while but I think this film, for quite some time, has been overlooked and dismissed unjustly.

4. Roxanne

Roxanne (Columbia Pictures)

This is one of Steve Martin’s best balancing acts between his comedic and dramatic talents. His put-down monologue is fantastic and I still quote: “It must be great to wake up in the morning and smell the coffee…in Brazil” often.

5. The Lost Boys

The Lost Boys (Warner Bros.)

I was a late-comer to the horror genre so I didn’t discover this film until later on. And as if to underline my point, few and far between are those who dislike this film, therefore when I can defend Joel Schumacher I do. You can knock some of his films but not all, not even close.

6. The Monster Squad

The Monster Squad (TriStar Pictures)

The rise to cult status of The Monster Squad is truly amazing and practically unprecedented and I’m a small part of the years later surge in its popularity. I saw it many years after its release on VHS and loved it. I now have it on DVD and I get why it’s adored and also why it flew under the radar in its initial release.

7. The Curse

The Curse (Trans World Entertainment)

As I’ve mentioned previously, few films exemplify the alchemy of horror better than this film. It’s got a lot going against it but it still works very, very well.

8. Hellraiser

Hellraiser (New World Pictures)

I was first introduced to this film in a horror class I took in college. It just keeps getting better with age like a fine wine. It also stands as one of two films that have gotten me literarily smitten with its writer, in this case Clive Barker. I immediately started chasing down his books after seeing this and Candyman in the class.

9. Baby Boom

Baby Boom (United Artists)

Here’s another I’ll admit is cloudy but I do remember watching it quite a bit on HBO back in the day, and I believe that many of the Diane Keaton films I saw were partially a result of this film. Not to mention that as silly as it may be it is also a sign of the times. Women still had some strides that needed making in terms of equality, and this was one of the films and/or shows that was broaching that subject. Perhaps, not the best or most serious but noteworthy nonetheless.

10. Hope and Glory

Hope and Glory (Columbia Pictures)

This is another film I discovered later on and it is also a film that is exponentially better on the big screen. I discovered it on video. I was fortunate enough to see it introduced by John Boorman at BAM Rose Cinemas in Brooklyn. The viewing was very memorable but I’ll be eternally thankful for the response he gave my question about casting a young lead. It helped me a great deal in preparing for an upcoming production.

11. Planes, Trains & Automobiles

Planes, Trains & Automobiles (Paramount)

This one is a favorite for so many. As I often say John Hughes created innumerable new templates for story that were used in film and television alike. This one is no exception, while many avoid the twist in the tale the framework has been re-used several times as has The Breakfast Club, Ferris Beuller’s Day Off, Sixteen Candles and so on.

12. Au Revoir Les Enfants

Au revoir les enfants (Orion Classics)

I can’t say I’m a completist with his work but I love Louis Malle. In this film he tells a very personal story and you can feel that throughout the film it’s really its most remarkable quality.

13. Empire of the Sun

Empire of the Sun (Warner Bros.)

I saw this film many years after its release. I saw it sometime in the summer of 2001. I remember the date specifically because after multiple viewings my opinion of Artificial Intelligence: A. I. had solidified and having had a Spielberg class and hearing things like “this is his most European film” but not being able to see it I was very anxious. Being properly prepared for it in all regards it blew me away. I love it.

14. Wall Street

Wall Street (20th Century Fox)

This film I remember viewing in a high school economics class the first time around. Now there was a slightly more cynical, realistic approach that the teacher employed when discussing it, and he had his motives for showing it but not only was it a victory for me against an attempt pedagogical indoctrination, but I still really enjoyed the film a great deal. That is not surprising as it was during Oliver Stone’s heyday.

15. Throw Momma from the Train

Throw Momma From the Train (Orion)

This is another one I’m far removed from seeing but the premise is outlandish and it’s made to work thanks to the casting of Momma, but then you also have Billy Crystal and Danny Devito working together, so my childish sense of humor (which for the most part remains in tact) adores it.

16. Overboard

Overboard (MGM/UA)

Amnesia it seems was big in the 80s, at least I think it was I can’t remember (I’m so sorry). It was an oft-used theme then it seems but this was the best take. There aren’t many great tandems anymore but this one was a match made in cinematic heaven regardless of material and cheesy posters.

17. The Grand Highway

The Grand Highway (Miramax)

This is a film I discovered quite some time later. I think it’s likely the most overlooked of them all. This film did get a US remake, which I discuss here. I think this is a really great film that more people should see. I wrote about the remake of this film and will re-post that series here.

18. Um Trem Para As Estrelas

Um Trem Para As Estrelas (FilmDallas Pictures)

Another staple on these lists, when I can find one, will be a Brazilian film. This was a pivotal time in Brazil politically as the country was making the always difficult transition from a dictatorial government to a democracy. That serves as the backdrop for this coming of age tale. The film also portraits Brazil’s vibrant pop music scene of the era with many performances by popular artists included. I remember I rented this from Movies Unlimited back when they had a physical location, and while deliberate in pacing I enjoyed it a great deal.

19. Mio in the Land of Faraway

Mio in the Land of Faraway (Miramax)

A lot of funny things and parallels come to mind when there’s mention of this film. First, this seems to be my obligatory Christopher Lee title. Second, here’s Christian Bale’s second appearance on this list, in his neophyte, pre-bad press phase. It’s also strange in that it’s an all English-speaking cast enacting a foreign fairytale, similar to the The Neverending Story with much less press in the US. This one also only was released in the US in 1988. I really do like this film for the narrative, the lead performances, and because it’s good cheese. I can’t argue there’s none here.

20. Pelle the Conqueror

Pelle the Conqueror (Miramax)

In my retroactive BAM days I placed this film as an ’87 release even though it made its splash globally the following year, seeing as how this list is in retrospect I’ll place it here. Not only is this a great film wherein Bille August burst on to the scene but it’s yet another great performance in the career of Max von Sydow. It’s also an incredibly moving film.

21. In a Glass Cage

In a Glass Cage (Cinevista)

If there was ever a director to which the term no-holds-barred applied without question it’s Augusti Villaronga. There are likely synopses that give away only what is necessary to discuss the film, I’d rather spoil nothing about this film except to say this film is not for the faint of heart or the queasy. Even if you’ve seen many films, few are this dark and disturbing. It relishes in making you uncomfortable. It’s likely not a film you’d want to see more than once but perhaps what’s most effective is that it pushes your buttons regardless of what’s happening.

22. Bad

Bad (Epic Records)

Two things straight off the bat: If I could’ve included Madonna I would have but “Open Your Heart” as a video came out in December 1986. As for what a music video is doing on this list, I had a short film in my 94 list and I did write (not yet reposted here) after Jackson’s passing about how his videos were more cinematic than most and in the 80s they were more story-based in general. It may not be quite the production that Thriller is but there’s no bothersome disclaimer at the front and this one was directed by Martin Scorsese so it has more than enough merit to it.

23. La Bamba

La Bamba (Columbia Pictures)

I was, as were many of my classmates, quite literally obsessed with this movie and Richie Valens for quite a long time after it came out.

24. Ernest Goes to Camp

Ernest Goes to Camp (Buena Vista Pictures)

Writing a blurb for a Ernest movie is simple: either you like this character of the late Jim Varney or you don’t. I always liked him even though I saw this film later on.

25. The Garbage Pail Kids Movie

The Garbage Pail Kids Movie (Atlantic Releasing Corporation)

Here’s a film that will fall under the memorable category. I fall neither in the cult following of this movie nor the rabid hatred thereof, but I have seen it twice and do recall it was the quest of a friend of mine’s in junior high to obtain this film. It may well have been the seed for my loathing of the concept of something being out of print.

26. Masters of the Universe

Masters of the Universe (The Cannon Group)

Another big deal for me when I was young was He-Man. More so the animated series than this film. Now, I loved it at the time but I have since revisited most, if not all of the series, and the fish out of water approach to the movie while amusing is certainly not why we kids adored the show. It was Eternia and the characters and landscape there. It certainly wasn’t as the quote at the bottom of this poster states the Star Wars of the 80s, I think that was still Star Wars.

27. Dennis the Menace Dinosaur Hunter

Dennis the Menace Dinosaur Hunter (LBS Communications)

There are some things I really loved as a kid that I would come very close to forgetting and then through some nearly miraculous happenstance be reminded of in a very powerful way and my affection would be rekindled. The more notable cases are musical but this film fits that bill. It was a TV project that I know I’ve seen many times but each after nearly having forgotten it existed. I liked, and still do like, Dennis the Menace as a character and I was obsessed with dinosaurs so this film is one I’d naturally gravitate to.

28. Flowers in the Attic

Flowers in the Attic (New World Pictures)

Here’s one that I nearly forgot about as I used the IMDb to jog my memory and somehow I hadn’t voted on this one though I viewed it when I was a rather anal-retentive voter. I saw this film later on and it’s definitely a cult favorite. You either love it or loathe it but perhaps what’s most notable for me is that after having seen it I considered reading V.C. Andrews but when I discovered the author’s name had become and overly-exploited brand name posthumously, I shied away. Perhaps, with an even better interwebs than ever before, I’ll look into her again and see what she actually wrote and what is just attributed to the name.

Thus concludes my journey through 1987 what year I’ll revisit next I know not but may it be as memorable as the first two.