MovieChat Forums > On the Beach (1959) Discussion > Sexuality and homosexuality in the film

Sexuality and homosexuality in the film


Any idea's anyone?

there is a lot of overt sexuality in this film. Likely of the notion that all of these people are aobut to die. So what do they want? Peace and sex. Also there's a lot of fixation about butts in the film. Peter stares at mary's butt a few times. Dwight pushes Moira back into the sailboat by her butt. Dwight slaps one of his officers butts when he is going to check out the signal. There's really as lot more to to this film than meets the eye. And to think that it was made in 1959 is incredible. I beleive that as a reult of it's being portrayed as a hollywood blockbuster "pop" film a lot of the innuendo and subletly of symbolism slipped by most people.

a few sexual references.

Very biginning, Peter delivers Mary tea in bed. (Peter is feminized in this movie by the way) Mary wants to get frisky and Peter shoots her a look almost to reprimand here for thinking so.

At the beach peter stares at her butt, then whacks it with a towel.

The other beach scene, mary says to peter "You never wrestle with me anymore" Then when he gets up to do she says something like "not right now" obviously telling him that she means in the bedroom. When she says this he looks a little puzzled. However Peters's feminization changes as the movie goes on, It is almost as if Stanley Kramer wants to make Peter a representation of homosexuality but at some point decided not to go through with it.
Also, Peter's nickname for Mary is Charlie.

When Dwight comes back from the *beep* he saysd to moira "is the offer still on the table for me to spread some fertalizer?"
these are just a few examples. There are many more.


Other interesting things.
On the side on one of the American warehouses in San Francisco it says Powerhouse, alluding that America considers itself to be a power house. Later the officer passes a unit that says "Power Control" with both levers turned to on. When the officer leaves, he turns these levers off.

THe doctor at one point says to Dwight, who is undeniably portrayed as the symbol of the American military man (though it's a bit more complicated)"We're not just machines you know, we don't go down in rows." This is not so litereal as it seems. In the context of the film it is saying that the radiation will not hit everyone at once. The unsaid message is that humankind will not simply play the roles that it's ruling bodies think it should. Meaning that we will not simply line up for battle and die nice and neatly. Or that in societies which base themselves so much on order when the death begins, as much as it fdrives the powers that be nuts, chaos will inevitably ensue.

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Thanks for the chuckle bchace!

~*~ Melba ~*~

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Just watched 'On the Beach' again and while I enjoyed the movie, and generally enjoy the subjects on these boards, I must ask why does this particular subject matter or intrigue people so much?
This was made in 1959, at the height of the Cold War, although Shute had written it much earlier, in the 40's I think. But the world had just suffered this tragic war and two Japanese cities had atomic bombs dropped on them.

Despite what the scientists say now, back then no -one really knew what 'fall-out' would do.

This is much more important than any homo-erotic messgae, which for me, just isn't there and I couldn't care less if it is.

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Sometimes in a film, a banana is just a banana

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I think the Hosgood situation can be taken either way.

But whether she was heterosexual or homosexual or anything in between, she always thought there would be time to find someone later in life.

But time ran out.

Maybe she was just so wrapped up in her career nobody of either sex dared to approach her.

And of course there's the hint of the May-December affection between her and Admiral Bridie, but I think they were both too professional for that to ever develop into anything, and also I think his feelings toward her may have been as much fatherly as anything of any really romantic nature.

If he really had any romantic designs on her, when she said, "nobody ever asked," he would have replied, "they must be nuts, you're hot."

Instead, he chooses the poetic and elegaic, "to a blind, blind world."

Which says the same thing, but much more elegantly.



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Very active imagination from a person with Head in Toilet disease. Sex, sex, sex. Get a life. Take some time off and learn to spell.

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Why is it that there is always someone who wants to interject homosexuality into a film where there is none?

Just askin'

"I like you, Kane... You're normal!" "The Ninth Configuration"

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(Post removed and transferred to a new thread on EOL parallels with active seniors.)

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Hi,

I'm gay too and I saw no gay hints in this lovely, well made, well acted film. I thought the leads terrific, was always a fan of Peck and Gardner (and still am!)

Trying to interpret a film made so long ago with today's mores is ridiculous, childish and annoying. I saw it when it came out and loved it. I watched it again tonight and loved it all over again

Not sure whether it's the story which has depressed me, or the thought that ALL the protagonists are as dead as their characters!

A lovely film which holds up incredibly well!

Best Wishes

Sam

"Jack leaned against the steady heartbeat"

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Why is it that there is always someone who wants to object to any suggestion of homosexuality and behave like it's unreasonable?

Just askin'.



You might very well think that. I couldn't possibly comment.

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The only part I thought that alluded to homosexuality was the subtle scene in the Club when Jackie Gleason says to Art Carney, 'Norton, I want YOU to *beep* ME in the ass'. But I could have just misinterpreted his meaning.

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"Dwight pushes Moira back into the sailboat by her butt. Dwight slaps one of his officers butts when he is going to check out the signal"

To be honest both these happenings did make me raise my eyebrows somewhat. The overt sexuality of that butt push om Moira was a surprise. But further more it does embarrass me to admit that I also thought that some might see something slightly homo-erotic about the way he slapped that officers butt. Particularly after he's said he wanted him to be out of the protective suit and as naked as a baby when he got back.

Don't get me wrong, this was a fine film. But in bchace's defense I must once again say that these were slightly eyebrow raising moments for me as well.

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Thanks for your thoughts, harrison. For me, such scenes and comments seemed examples of people trying to interact under the strain of approaching death, and the screenplay trying to show (awkwardly, imo) that these people were still vital and not prepared to die. (I don't think it was a great screenplay, honestly.)



You might very well think that. I couldn't possibly comment.

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I think the OP's ideas are pretty far-fetched when not downright silly but sometimes it's interesting to see some alternative takes on any movie, however weird.

I think the so-called heterosexual aspects (hitting the girls on their asses) are exactly what they appear to be. Whether Dwight slapping Sundstrom (the officer put ashore) on the rear end as he climbs the ladder is at all homo-erotic is something else again; I read it as simply typical of such behavior between men aboard any ship, but I suppose one could argue some sort of homo-erotic significance in such a gesture if you must. (My response is, so what?)

The OP's other stretches are a bit much (i.e., ridiculous), especially his speculation that the word "powerhouse" on the side of a powerhouse represents how America sees itself, and that shutting it off symbolizes the country's loss of power after it's been destroyed. Many Americans would no doubt agree that their country is a "powerhouse" but to imply some hidden representation to that effect in photographing one is pretty dopey. The whole scene is adapted from such a sequence in the novel. Of course, perhaps Nevil Shute intended such an allusion...or is that "illusion"? How far back do we want to carry this?

puirt-a-beul is absolutely right that this wasn't a great screenplay. Lots of flaws.

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