Vito Russo's The Celluloid Closet was published 43 years ago and quickly became a must-have for Queer bookshelves, followed by the iconic 1995 documentary film directed by Rob Epstein and Jeffrey Friedman.
Leave it to the inquisitive Gay film critic and author Alonso Duralde (known for writing for The Film Verdict website and The Advocate) to continue where they left off with Hollywood Pride: A Celebration of LGBTQ+ Representation and Perseverance in Film (also available as an e-book), highlighting actors, writers, directors, and producers who navigated the deep closets of Hollywood. Duralde's research delves into the hidden stories of the people behind the movies, covering the decades of cinema since The Celluloid Closet was published and since Vito Russo's passing in the early '90s
Duralde sees The Celluloid Closet and William Mann's Behind the Screen as significant predecessors that paved the way for his work. His gratitude to both authors is immense, acknowledging their longstanding influence. Therefore, keeping the narrative current is crucial.
I recently chatted with Duralde over Zoom.
On his inspiration
"Running Press approached me to contribute to [its] TCM book series, which unofficially follows in the footsteps of Donald Bogle's Hollywood Black and Luis Reyes's Viva Hollywood. These works highlight diverse contributions to cinema, exploring Black, Latinx/Hispanic, and now LGBTQ+ narratives in Hollywood and independent filmmaking.
"I'm thrilled that TCM recognizes the importance of these stories, especially in today's digital publishing landscape. They understand the demand for such material and are committed to its publication, whether it's Bogle's biography of Lena Horne or Eddie Muller's exploration of noir. TCM's dedication to showcasing LGBTQ+ stories is an honor."
On his research approach
"I approached this project with a solid foundation, having written for Queer newspapers and magazines and organized LGBTQ+ film festivals over the years. However, delving into this book uncovered gaps in my knowledge and introduced me to historical figures whose LGBTQ+ identities were previously unknown to me. It's been an ongoing journey of discovery, and I hope readers will share in that experience.
"Verifying information proved challenging, especially where traditional documentation like birth records or property sales was lacking. Researching the lives of individuals who lived discreetly in the early 20th century due to safety concerns or legal risks required innovative methods to uncover their stories."
On the most surprising thing
"James Crabe was a revelation to me. His career as a cinematographer for mainstream hits like Rocky and The Karate Kid began in the '60s through the Gay Girls Writing Club, an unconventional group of Gay men and drag queens in the film industry who created campy parodies of Hollywood classics. The club's existence would have been unthinkable in the repressive Hollywood of the '50s or '40s, highlighting a relative sense of openness by the '60s.
"Crabe's trajectory from this subculture to mainstream success, and his tragic passing from age-related complications in his fifties, was a story I had not encountered — a testament to his ability to thrive in the industry while openly Gay."
On the morals clause
"Studios began losing control in the '50s as actors and producers negotiated their contracts post-World War II. Montgomery Clift's strategy of waiting until he had several successful films under his belt before signing with a studio exemplified this shift in power dynamics.
"Despite these changes, studio control didn't fully erode until the '60s, when the Production Code was finally abolished. This seismic shift was influenced by bold European films that challenged norms of representation and societal evolution. Directors like Otto Preminger pushed boundaries with films such as The Man with the Golden Arm and The Moon Is Blue, releasing them without Production Code approval if necessary.
"The evolution continued after the Code's replacement with the rating system, though it took time for Queer indie films, including pre-VHS Gay pornography, to explore LGBTQ+ narratives freely outside the studio system.
"The pivotal year of 1982 marked a turning point, responding to societal backlash against films like Cruising and Anita Bryant's activism in Florida. Studios began exploring more progressive approaches to depicting LGBTQ+ stories with dignity and understanding."