Was bert lahr gay
WHAT IS A CODED Same-sex attracted CHARACTER?
"I wish to link the Legion of Decency, which condemns vile and unwholesome moving pictures. I unite with all who protest against them as a grave menace to youth, to home animation, to country and to religion. I condemn absolutely those salacious motion pictures which, with other degrading agencies, are corrupting widespread morals and promoting a sex mania in our land… Considering these evils, I hereby promise to remain away from all motion pictures except those which do not offend decency and Christian morality."
"”Catholic Legion of Decency pledge
And now here at The Last Drive In, the subject of “The Third Sex in the Shadows of Cinema.”
Clifton Webb as Hardy Cathcart in The Dark Corner 1946 directed by Henry Hathaway. Waldo Lydecker: “I’m not thoughtful, I’m vicious. It’s the secret of my charm.”
“Oh, it’s sad, believe me, Missy, when you’re born to be a sissy without the vim and voive…” -Bert Lahr as the Cowardly Lion in The Wizard of Oz (1939)
Growing up as a gay woman, though gender and sexuality are fluid, there was not a well spring
By Scott Ross
Gorky Park (1983) This intelligent adaptation of the splendid Martin Cruz Smith novel (the screenplay was by Dennis Potter and the director was Michael Apted) would hold been even finer had it been a mini-series love the BBC’s “Tinker, Tailor, Soldier, Spy” and “Smiley’s People.” Too much had to be left out, especially regarding the Moscow police detective Arkady Renko’s arrest, exile and rehabilitation halfway through the narrative. Yet what made the novel special — it was in a way a standard whodunnit thriller made irresistible by its Russian setting and the grotesquery of the crime itself — also makes the movie of it instantly engaging. Being led through a complex criminal investigation in a nation which at that Cold War time was not merely unknown to most of the world but essentially unknowable (it still is, apparently, or we in the West would not spend so much time, thought, treasure and other people’s blood in quixotic efforts to wreck it) gave the material a fascination then that is no less compelling today.
I wish the movie’s Renko had been someone other than tha
Tony Kushner and John Lahr photo byNancy Crampton
by Joel Benjamin
The fresh biography of Tennessee Williams, Mad Pilgrimage of the Flesh was the subject of a rest down with its author, John Lahr chatting with playwright Tony Kushner at the Kaufmann Concert Hall of the venerable 92nd St. Ys Tisch Center for the Arts. These two satisfactory writers, both with theatre bona fides, discussed Lahrs book, whetting everyones appetite to read this fresh take on Williams checkered career. Mad Pilgrimage focuses on the interdependence of Williams mental and emotional health and the quality of his writing. As Williams got older and more drug and alcohol addled, his writing suffered. Even so, throughout the discussion, Tennessee Williams importance as a writer was emphasized, his later works examined and deemed more worthwhile than their original critical reception might show.
Lahr, in an unusual accept on his subject, structured Mad Pilgrimage as Williams life illuminating his writing rather than as an incident-driven biography. Lahr was privy to previously unreleased material such as letters, drafts of plays and diaries which proved
Bert Lahr
“If you desire to be a success in Hollywood, be sure and go to Modern York.” –Bert Lahr
Bert Lahr was privileged enough to hold an iconic role in one of the most beloved films of all time. While many will recall his performance as the Cowardly Lion in The Wizard of Oz (1939), his experience as an energetic performer extended beyond this critical role.
Irving Lahrheim was born in Modern York City on August 13, 1895, to German Jewish immigrants Jacob and Augusta Lahrheim. Jacob worked in upholstery. Irving was the oldest of three children, including two sisters named Cecelia and Babe.
Irving grew up in the Yorkville section of Manhattan, dropping out of school during his first year of high college to join a juvenile vaudeville perform. He took on the stage call of Bert Lahr and gradually worked his way up to top billing while working for the Columbia Fun Company. His Broadway debut came in 1927 in Delmar’s Revels, which had Lahr playing to full houses. During the show’s race, he performed the classic “Song of the Woodman” routine, which he carried out in the 1938 film, Merry-Go-Round.
Lahr’s first big achievement was in the stage musical Hold E