First gay film

While countless groundbreaking films and characters merit inclusion, we've selected pivotal moments in LGBTQ+ cinematic history to commemorate Pride Month and trace the development of LGBTQ+ representation over the years. From comedic portrayals of gay characters and queer-coded villains in Disney productions to the Oscar-winning masterpiece Moonlight, LGBTQ+ narratives have advanced considerably, finally beginning to appear on screen in a genuinely celebratory and authentic manner.

The Hays Code's Impact on Queer Representation

Defining queer-coding.

To grasp the context of LGBTQ+ cinema, one must acknowledge the historical marginalization of the LGBTQ+ community, often considered outside the societal norm and even criminalized, leading to clandestine lives. This dynamic seeped into the film industry, with the 1930s Hays Code (also known as the Motion Picture Production Code) forbidding explicit portrayals of homosexuality for over three decades. While earlier films occasionally depicted LGBTQ+ stories, the Hays Code significantly hampered the open portrayal of these themes and characters.

Naturally, LGBTQ+ characters continued to appear, but their identities were deliberately obscured, instead being subtly implied through "queer-coding."

Queer-coding involves leveraging LGBTQ+ stereotypes and tropes to subtly suggest a character's sexuality, yet failing to explicitly confirm it. This practice, once recognized, is readily apparent in various films. Examples range from Faith in Buffy the Vampire Slayer to Mrs. Danvers in Rebecca, spanning genres from Disney animations to mainstream dramas.

While queer-coding allowed LGBTQ+ characters to exist in the cinematic sphere, it unfortunately frequently perpetuated harmful stereotypes or even served to demonize the community. Notable instances include Disney antagonists like Scar in The Lion King and Jafar in Aladdin, who were utilized (according to The Take) to reinforce prejudiced assumptions about individuals who deviate from conventional gender roles. This issue is magnified by the intended audience, which often includes children.

The Take offers a detailed explanation of queer-coding in a helpful video. View it here:

Fortunately, the Hays Code was rescinded in 1968, thereby enabling more open and unencumbered portrayal of LGBTQ+ stories. Contemporary films now frequently feature openly gay characters whose portrayals transcend comedic relief, stereotypes, or tragic narratives. These characters are often portrayed with multifaceted complexity and genuine affection, mirroring typical cinematic representations of other types of characters - demonstrating this in TV shows like It's a Sin, Brooklyn 99, and Sex Education. Subtle hints of queer-coded characters still exist, but the portrayal of LGBTQ+ characters is expanding beyond those techniques.

Now that the nuances of queer-coding are understood, what other films spring to mind? For instance, were the characters in Top Gun simply wingmen? Consider the possibility of a deeper narrative.

Understanding the evolution of LGBTQ+ representation within film, we now proceed to highlight crucial moments in cinematic history.

Key milestones in LGBTQ+ cinema history

The Dickson Experimental Sound Film (1894)

Sometimes referred to as The Gay Brothers, this brief film (mere seconds in length) is considered an early example of same-sex imagery on screen. This pioneering experiment in synchronizing sound and motion pictures intriguingly shows men in close proximity, dancing intimately while another man plays a violin—a provocative portrayal for the time.

A Woman (1915)

Charlie Chaplin's A Woman showcases the renowned comedian's portrayal of a character in drag, who manipulates the affections of two men, ultimately leading them to a humorous interlude. This exemplifies the early representation of queer characters often used for comedic relief, a pattern that continued even after the Hays Code's implementation. Similar depictions occur in films like Some Like It Hot (1959), starring Marilyn Monroe, Tony Curtis, and Jack Lemmon.

Anders als die Anderen (1919)

During a short period of relaxed German censorship following World War I, this film presented a groundbreaking portrayal of a gay protagonist. The film, titled "Different from Others," tells the story of a gay violinist whose life is tragically cut short due to blackmail relating to his sexual orientation in a society where homosexuality remained illegal. Despite its tragic undertones, the film presented a more compassionate portrayal of a gay individual during a challenging time.

Pandora's Box (1929)

Pandora's Box showcases an early depiction of a lesbian character, the Countess Geschwitz (Alice Roberts), who displays romantic affection for the protagonist, Lulu (Louise Brooks). This groundbreaking portrayal of lesbian love, unlike many other examples, was not hinted at but explicitly portrayed. This was soon followed in 1931 by Mädchen in Uniform, the first explicit lesbian film with a young lesbian at its center.

Morocco (1930)

In this 1930 romantic drama, the bisexual actress Marlene Dietrich's cabaret singer character engages in a passionate kiss with another woman in a scene designed by Dietrich herself. This innovative portrayal, defying censorship, showcases a significant leap forward. Dietrich's clever inclusion of a flower exchange allowed the scene to bypass restrictions, illustrating how filmmakers sometimes navigated constraints to subtly incorporate LGBTQ+ representation.

1934: The Hays Code imposed restrictions on depictions of homosexuality, claiming that movies aimed at improving society could become crucial tools for progress. These principles underscore the code's core tenets:

- Preventing any story from morally undermining its audience.
- Establishing appropriate conduct, subject to the constraints of entertainment.
- Preventing the ridicule of law or moral principles.

These restrictions also extended to: nudity, suggestive dances, blasphemy, criticisms of religion, illegal drug use, venereal disease, interracial relationships, childbirth, detailed portrayals of criminal acts (to prevent imitation), and language beyond "damn."

Despite these restrictions, queer-coding continued, sometimes with positive intent, and other times negatively portraying queer characters.

Rebecca (1940)

Rebecca exemplifies a queer-coded antagonist, presenting Mrs. Danvers, Rebecca's former housekeeper, with an obsessive romantic attachment to the deceased Rebecca, resulting in a disturbing and menacing presence in this atmospheric Hitchcock film. Hitchcock further explored similar themes in other films like Psycho (1960) and Rope (1948), with the latter exploring a coded gay relationship between two protagonists.

Rebel Without a Cause (1955)

Rebel Without a Cause, a significant box office success, subtly hints at a potential gay relationship between Jim Stark (James Dean) and Plato (Sal Mineo), one of Hollywood's early openly gay actors. Mineo himself later identified Plato as a groundbreaking portrayal of a gay teenage character. The film also highlights the presence of a bisexual director, Nicholas Ray, who guided Dean into expressing his potential bisexuality in scenes with Mineo.

Victim (1961)

Set in 1960s London, Victim directly tackled homophobia prevalent in Britain, where homosexuality was still illegal. The film, through the character of a closeted gay lawyer (Dirk Bogarde), explores the challenges faced by gay individuals, including blackmail and the desperate measures taken to conceal their sexuality, even leading to suicide in some cases.

Similarly, The Children's Hour (1961) showcases the harmful consequences of fabricated accusations of a lesbian relationship between two teachers (Audrey Hepburn and Shirley MacLaine), culminating in the suicide of one of the teachers - who was, in fact, a lesbian. This reinforces the narrative, previously introduced in Anders als die Anderen, that gay characters are sometimes depicted not for comedic effect, but for tragic and unjust plot lines.

1968: The Hays Code was lifted, replaced by the modern Motion Picture Association film rating system (MPAA).

The Killing of Sister George (1968)

Months after the Hays Code's demise, The Killing of Sister George premiered, containing the first lesbian sex scene. The film, featuring a mature June, showcases her time spent drinking, smoking cigars, and engaging in intimate relationships with her younger partner, Alice. This depiction of a lesbian relationship also involves a nightclub setting, although these characters' portrayals lack significant emotional depth or positivity.

June 1969: The Stonewall Riots in New York City, sparked by a police raid at the Stonewall Inn, ignited three days of demonstrations. The injustice of the raid against the LGBTQ+ community culminated in these protests, marking a crucial turning point in LGBTQ+ history.

The Boys in the Band (1970)

The Boys in the Band, originally an Off-Broadway play, later adapted for the screen, presented an unprecedented portrayal of gay characters and their relationships. The play centers on a birthday gathering of gay men, where tensions emerge upon the arrival of an uninvited straight guest. This intimate and nuanced depiction of a gay men's friendship group significantly advanced LGBTQ+ representation at the time.

Dog Day Afternoon (1975)

Based on a real-life event, Dog Day Afternoon depicts a man who, to fund his partner's gender transition, undertakes a bank robbery. The portrayal of a trans woman character (Leon), played by a cisgender actor, exemplified the problematic trend of cisgender actors taking roles that should belong to trans actors. This practice not only undermines the opportunity for trans actors but also distorts trans identities.

The Rocky Horror Picture Show (1975)

The cult classic Rocky Horror Picture Show, featuring a captivating and pansexual trans scientist (Dr. Frank-N-Furter), showcases queer camp in a visually striking and entertaining way. The film's dramatic and comedic portrayal of a gothic castle, filled with peculiar characters and themes, has a significant legacy within the LGBTQ+ community.

Making Love (1982)

Making Love, spearheaded by a gay screenwriter, tackled the portrayal of gay characters, depicting a happily married man grappling with same-sex attraction, eventually falling in love with a gay man. This film offered a more nuanced and realistic depiction of homosexual relationships, contrasting with the often-tragic narratives of the past.

Desert Hales (1985) followed, providing a positive portrayal of a lesbian couple's relationship.

Parting Glances (1986)

Parting Glances poignantly illustrates the devastating impact of AIDS on the LGBTQ+ community in the 1980s and 1990s. The film follows a loving romantic relationship dealing with the realities of the illness, humanizing those affected instead of demonizing them.

Orlando (1992)

Orlando, a poignant adaptation of Virginia Woolf's novel, depicts an androgynous nobleman in Elizabethan England who experiences a transformative journey through time and gender. The film's exploration of gender fluidity and societal norms showcases a distinctive blend of historical context and contemporary themes.

The Adventures of Priscilla, Queen of the Desert (1994)

This Australian comedy features two drag queens and a trans woman embarking on a cross-country road trip, showcasing queer drag culture in a vibrant and humorous manner. The emotional core of the trio's journey is interwoven with humorous and dynamic elements.

Brokeback Mountain (2005)

Brokeback Mountain portrays a profound and sincere love story between two cowboys with a hidden romance. This poignant film's success proved that LGBTQ+ stories could resonate with a wide audience and offered a nuanced depiction of a romantic gay relationship.

Blue Is the Warmest Color (2013)

Despite its critical acclaim, Blue Is the Warmest Color faced controversy for its portrayal of a lesbian relationship, which some critics viewed as overly sexualized and reliant on the male gaze.

Tangerine (2015)

Tangerine offered a significant milestone in queer cinema by centering the story on trans women of color played by trans actors of color, avoiding the historical practice of whitewashing or casting cisgender actors in these roles.

Moonlight (2016)

Moonlight, a poignant coming-of-age story about a young gay Black man, achieved groundbreaking status as the first LGBTQ+ film and all-Black cast film to win Best Picture.

Rafiki (2018)

Set in Nairobi, Rafiki presents a lesbian love story in a country where homosexuality is illegal, showcasing courage and resilience in a challenging setting.

Love, Simon (2018)

Love, Simon, inspired by a young adult novel, depicts a coming-out story for a closeted teenager (Simon). The film highlights the support and acceptance that can exist for those navigating their sexual identities, presenting a hopeful and relatable narrative for young audiences facing similar challenges.

Simon's relationship with his father, particularly how his father initially struggles with his son's revelation before fully accepting him, sets a new precedent for the coming-out story. This demonstrates a shift from traditional narratives.

Portrait of a Lady on Fire (2019)

Portrait of a Lady on Fire, a French historical romantic drama, is notable for its use of the female gaze, nuanced portrayal of complex female characters, and authentic depiction of a lesbian relationship. This film stands apart from previous LGBTQ+ films by defying several stereotypical representations.

2019 saw a surge in LGBTQ+ cinema, offering a diverse range of stories and characters. However, further work is needed to increase representation of LGBTQ+ people of color and transgender individuals. Subsequent years saw progress in inclusivity, exemplified by films like The Mitchells vs. The Machines, Adventure Time, and Steven Universe. Notably, Disney+'s Loki announced Loki's gender-fluid identity.

These advances suggest a positive trend toward greater inclusion and representation. Further, Stacker's article offers valuable insights into LGBTQ+ cinema history and its trajectory, while a Freesat selection provides an overview of LGBTQ+-focused content.