Lesbian Subtext?


It's in plot keywords.

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Hell yeah! Between Crawford and McCambridge. I've seen the movie multiple times. It's subtle but it IS there!

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How? They wanted to kill each other, not make love. Anyone who sees anything other than two women wanting to destroy each other is suffering from wishful thinking.

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Ever see a movie when a man and a woman hate each other but end up falling in love? Same dynamic is a work here. Also quite a few articles have been written about this movie and all have mentioned the lesbian subtext. It's in there.

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I don't know, Preppy, I think Vienna looked pretty terrified under the bold surface every time Emma was on screen. Joan Crawford is always good. But I will grant you that at times I thought Emma was looking at her as if she wanted to roast and eat her. Out of hunger, not sexual desire. I wonder if the director told her, "Okay, Mercedes, your motivation is simple. You're a wild wolf in a cage, leashed and strapped down, and Joan's death is a plate of pork chops parading in front of that cage. Now say the lines." ;-)

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I respectfully disagree with u proximo. She DOES look at her with hunger...but as a sexual desire.

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I totally agree with you, the lesbian subtext is SUPER obvious to me in this movie! I find that a lot of people tend to be in denial when it comes gay subtext in movies and I am not sure why? It's always obvious when it is there, especially in the old classic movies where that's really all they could do is "hint" at it. Glad you see it too!

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[deleted]

Yes it obviously is, was kind of part of the point I was trying to make.

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"I totally agree with you, the lesbian subtext is SUPER obvious to me in this movie! I find that a lot of people tend to be in denial when it comes gay subtext in movies and I am not sure why? It's always obvious when it is there, especially in the old classic movies where that's really all they could do is "hint" at it. Glad you see it too!"

I also agree. I think their violence towards each other is an expression of their denial of their true feelings.

Johnny Guitar was the first one to figure it out. That's why he said, "All a man needs is a cup of coffee and a good smoke." Because he knew he wasn't getting any of the other stuff.

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I've had people pull that BS on me, when I get fed up with a female co-worker mouthing off and thinking she could put me down, a third party told me it sounded like love.

No way in hell was there any attraction. Only in Hollywood's fantasyland is that possible, not the real world.

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This must be something that only guys (gay or straight) notice (wishful thinking on their part). Cause I just watched it a bit ago, and it was a strain for me to try to notice that. If it's t there, I didn't see it. And, I'm usually one of the first to pick up on that.

But. I think Crawford would have been the top in that relationship, if there was one. She had a dominating vibe throughout, but that's as far as it goes.

Please excuse typos/funny wording; I use speech-recognition that doesn't always recognize!

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I think heterosexual male film reviewers/fans think there's a lesbian subtext because McCambridge looked like a man, and Crawford was scary looking. Neither appeared to be the typical Hollywood starlet type, or even particularly attractive. Because other than the fact that Emma was a totally sexually repressed person (which could be a sign of having a confused sexual identity), I don't see any lesbian overtones..

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Well I'm gay not heterosexual so it doesn't apply to me. I've seen this film plenty of times and I'm not alone. Quite a few people see the lesbian subtext there.

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I am as well and sorry but no. It is now a well-known and documented fact that Crawford was out of her mind with jealousy over Mercedes taking the spotlight away from her. This was not a lesbian subtext, it was a control drama played out by the incomparable and a bit nutso Joan.

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I know that Crawford HATED McCambridge but I wasn't talking about the drama off camera. I'm talking about the plot of the movie itself. Those two characters hated each other but McCambridge's CHARACTER definitely had the hots for Crawford's CHARACTER. Sterling Hayden hated working with Crawford too. He said you couldn't pay him enough money to ever work with Crawford again.

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I guess we see what we want to see …. again, I don't see it at all.

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It is hinted at, but in an especially coy way.

The most obvious part is in the bank robbery scene. Vienna says to the Kid, "You don't know Emma like *I* know Emma." The joke being that Vienna is hinting she not only knows how vicious Emma can be, but she also 'knows' Emma literally in a different way -- that is, Biblically. Granted that's pretty vague, but then the movie goes out of it's way to give the Kid a long, awkward reaction shot, where he slowly gives Vienna a once over with his eyes and wears an expression that says, "Jeez, you are one kinky woman, Vienna." Watch the scene with that in mind, and it's actually really funny the way they play it almost as camp.

Then there's the part where Vienna says Emma hates the Kid because "the Kid makes her feel like a woman, and that frightens her." That's just dripping with subtext -- that Emma has been driven bat-sh*t crazy by sexual repression, and it's not a typical heterosexual unrequited love kind of repression.

Again, it's definitely vague. I'd argue the movie is more about how repression underlies power structures -- saying it has a 'repression subtext' would be a better descriptor -- and that the movie is thorny and Freudian enough that we're probably not just dealing with heterosexual repression.

Plus, it's Nicolas Ray after all. Ray was practically in John Waters territory with some of his movies, particularly this one; on the surface he just plays it all a little more 'straight' (wink wink nudge nudge).

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"It's Nicolas Ray after all. Ray was practically in John Waters territory with some of his movies, particularly this one; on the surface he just plays it all a little more 'straight'"

Spot on. And remember that this was just one year before Ray would have to cut some scenes of very open homosexual attraction from the still highly ambisexual Rebel Without a Cause.

In the end, however, JG kills off any of the potentially 'deviant' sexualities and multiple attractions as Vienna falls into Johnny's arms. Is this a satisfactory ending, or surrender to heteronormativity?

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The subtext is reinforced by Joan Crawford looking totally butch, and wearing her six-gun belt like a man.

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They both had a thing for the Kid.

Its that man again!!

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This was a fight between two women over a man. He wanted one over the other and the other one killed him leading to the shoot out.


I don't know everything. Neither does anyone else

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[deleted]

The movie tries to have it both ways. Because this is the 1950s, they both had to be in love with the Dancing Kid. But it's obvious that Emma has the hots for Vienna.

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