Myra Breckinridge (1970)

Myra Breckinridge is determined to dismantle the patriarchy through unspeakable measures... teaching an acting class in Hollywood. Also, sex, violence, and sexual violence.

• Directed by Michael Sarne, written by Michael Sarne & David Giler

• Starring Raquel Welch, Mae West, John Huston, Rex Reed

• Costume Design by Theadora Van Runkle, Mae West's costumes by Edith Head

Based on the novel by Gore Vidal, this cult classic follows the anarchist wanderings of Myra Breckinridge (Raquel Welch), a fiery transwoman with impeccable style and a bloodlust for destroying the male sex. Her battleground is her uncle Buck Loner's (John Huston) acting studio in glitzy, debaucherous Hollywood. She poses as his nephew's widow and demands half his estate, but settles for a teaching gig, informing the wayward hippie youth about the good ole days of the motion picture industry. She obsesses over a young couple (Farrah Fawcett & Roger Herren) who she believes represents the ideal American hetero couple. Meanwhile, a bawdy casting director, Leticia (Mae West), spits saucy double entendres at her young male clientele. Myra breaks up the couple and defiles the young man in an infamously offensive scene, leading Leticia to scoop up the young actor into her harem. When the jig is up, Myra finally reveals to her uncle she was his nephew all along. In the last scene, Myra gets hit by a car and wakes up in the hospital "as a man." Was it all an elaborate dream?

As a lover of famously bad movies, I've been meaning to watch this bonkers sexploitation culture crash. I have probably talked your ear off about one of my all time faves, Beyond the Valley of the Dolls, which is spiritually linked to this flick as one of two 20th Cent. Fox films released in 1970 to receive an X rating. It's no surprise Myra Breckinridge was universally panned by critics and banned around the world. It's really really really bad. As I watched it from the discomfort of my hot ass studio apartment with a smile plastered on my face, I kept thinking, "Wow... yeah... this is really really bad."

It had me thinking about the politics of nostalgia and reclaiming problematic or downright offensive media. The movie itself uses footage from old films to (haphazardly) punctuate scenes and harken back to the "golden age" of Hollywood that Myra romanticizes in her class. She uses this nostalgia as indoctrination for her students as a tool toward "the destruction of the last vestigial traces of traditional manhood in the race in order to realign the sexes, thus reducing population while increasing human happiness and preparing for its next stage.” It's unclear why she wants to destroy men. She is an agent of chaos in a chaotic world, constantly walking the line of upholding patriarchal gender norms and violating them. There is no context for her motives before her gender reassignment surgery, or after her she metaphorically wakes up back in Kansas. She learns nothing, but the singular point of the film is to shock, isn't it?

Back to nostalgia. As I finished the movie, I wondered why a movie like this doesn't get the same treatment as a Pink Flamingos or Rocky Horror Picture Show. The answer is probably that this movie is just too bad to be redeemable. However, I don't believe in the notion that Myra Breckinridge is "too offensive for today's audiences." In fact, the super cool LA queer film collective Dirty Looks had a screening of this movie back in 2019 (I desperately wanted to go but couldn't for some reason.) Is Myra ripe for reclaiming? Is Myra worthy of critical analysis beyond surface level Film Studies 101 criticism? Is Myra................. a slay? I cannot and will not be the judge of that..... but it piques my curiosity.

In our endlessly chaotic political & cultural climate, I enjoy watching these cult classics that attempt to mimic and satirize postmodern chaos, whether it's successful in doing so or not. I don't relish in its offensiveness, I relish in its desire to say something and unraveling at the seams because it was doomed from the moment it got green-lit. Sometimes, it's fun to watch an utter and complete fantastic failure.

Trivia!

• Raquel Welch and Mae West hated each other and channeled their animosity toward poor Farrah Fawcett. This was Farrah's first acting role (ouch).

• Michael Sarne became the bane of the crew's existence on set. He reportedly spent hours "thinking" by himself in a corner and wasted several days shooting a long table of food for a scene that was maaaaaybe 2 minutes.

• Edith Head exclusively designed the costumes for Mae West.

• The White House demanded footage of Shirley Temple be taken out of the film. She was a US Ambassador at the time. (?????)

• Mae West insisted her character's name be changed from Letitia to Leticia. Meanwhile her dialogue is completely comprised of innuendos, but go off queen.

• Gore Vidal HATED this movie yet he allegedly never watched it.

• Candy Darling (disciple of Andy Warhol) campaigned for the lead role.

• Myra's name refers to Bunny Breckinridge, a trans burlesque performer who had a role in Plan Nine from Outer Space.

• The lead role was offered to Audrey Hepburn and Vanessa Redgrave (????????)

• Raquel Welch is a slay in this movie. Is her acting good? No, but she slays.

Recommend?

This is a tough one. If you enjoy watching bad movies, then yes. Go for it... but don't say I didn't warn you. Giddy up!

Victor/Victoria (1982)

In 1930s Paris, a struggling singer is convinced by a new friend to impersonate a gay Polish drag queen. She becomes a popular gender-bending performer, but the act gets tricky when a Chicago gangster catches her eye.

• Directed & written by Blake Edwards

• Starring Julie Andrews, James Garner, Robert Preston, & Lesley Ann Warren

• Costume Design by Patricia Norris

• Nominated for numerous Oscars & Golden Globes, including the Academy Award for Costume Design

I recently rewatched this camp classic musical with a friend and was instantly reminded of the queer magic instilled in this film. Compelling storytelling, visually playful, and simultaneously (surprisingly) of the time and ahead of the curve. Julie Andrews gives an incredible performance as Victoria and Victor that transcends the outdated understandings of gender & sexuality embedded in text. Not only does Victoria prefer to live publicly as Victor, but her love story with a tough guy mobster is such a tender layer to her gender-questioning journey. Victoria and Toddy's friendship as performers, gay men in the public eye, and confidants is joyous. The 1980s screenplay, of course, is problematic in contemporary queer discourse; passing for another gender is viewed as deceptive at times, but Victoria is never deemed a villain. The film fluctuates between this flawed (and dangerous) logic and celebrating the grey area of gender and sexuality. This ambiguity works well in Victor/Victoria as a 1930s period piece written in the 1980s, and it's a balance that, frankly, many contemporary movies/shows lack. I found the playfulness and celebration of queer performance a ray of light in these current culturally and politically regressive times. Maybe it’s time for a remake?

(Just kidding, unless… Janelle Monae, are you avail?)

Lesley Ann Warren is perfect as a squeaky voiced chorus girl and elevates the camp factor. Robert Preston is fantastic as Victoria's openly gay confidant and manager, Toddy. James Garner humanizes his mobster character navigating a new life in the public eye as a gay man in love with a female impersonator. Again, it's kind of shocking this story was being (retold) in the 1980s.

I understand musicals can be a hard sell for some (hi Dad) but all the musical numbers are contained to the fictitious stage, meaning characters aren’t “randomly singing for no reason.” I don’t understand hate toward musicals (is there no MAGIC in your heart?) but in case that’s a deal breaker, know that it’s warranted or whatever.

Yes, “iconic” is overused but I don’t care. The costumes are iconic. Julie is a stylish dandy straight out of a J.C. Leyendecker illustration. Lesley Ann Warren’s burlesque look (drawn above) is a deliciously tacky frilly pink ensemble that I unfortunately need. Not to mention her platinum blonde do. Costume designer Patricia Norris’ other credits include Days of Heaven, Scarface, and she collaborated often with David Lynch.

Trivia!

• Director Blake Edwards and Julie Andrews were married and frequent collaborators.

• Peter Sellers was initially eyed for the role of Toddy but died before the film was cast.

• The Spanish style dress worn by Julie Andrews and Robert Preston is the same garment. Hook and eye clasps were used to change the shape to fit both performers.

• The story was adapted from the 1933 German film Viktor und Viktoria and so far there have been 5 adaptations.

• Originally, the Chicago mobster love interest, played by James Garner, was supposed to fall in love with Victor before it's revealed that she is a woman pretending to be a female impersonator. Blake Edwards chickened out and included the scene where she discloses her "real" gender.

• Julie has a four octave vocal range, from low “male” tenor to high “female” soprano notes. She breaks a few glasses with that high note.

• The film was adapted into a Broadway musical starring Julie Andrews. Liza Minelli and Raquel Welch were understudies.

Recommend?

Victor/Victoria is a must see for fans of cult classics and queer cinema. It's just so fun and surprising! Sometimes I'll just watch Lesley Ann Warren's burlesque number on youtube and scream (go look it up now!)

Everything Everywhere All At Once (2022)

Everything Everywhere All At Once follows an exhausted laundromat owner as she juggles her strained relationships with her husband, daughter, father, and the Internal Revenue Service. Oh, also the universe is on the brink of imploding if she doesn't learn how to jump between parallel timelines in the super complicated multiverse.

• Directed and written by Daniel Kwan & Daniel Scheinert (aka The Daniels)

• Starring Michelle Yeoh, Ke Huy Quan, Stephanie Hsu, Jamie Lee Curtis

• Costume Design by Shirely Kurata (follow her on Instagram NOW!!)

There's so much to say about this incredible movie and I promise I won't spoil anything! Everything Everywhere All At Once is a holistic experience and I feel HEALED. Beyond funny, incredible stunt choreography, amazing world-building, out-of-this-world visuals, and a truly tender soul. Layer upon layer of meaning and heartfelt specificity that balances the deeply personal and universal. Perfectly cast and what an incredible leading role for the LEGENDARY Michelle Yeoh. The story touches on nihlism, free will vs. determinism, generational trauma, all with a wink and a nod. I could rant and rave about this movie all day.

The costumes designed by Shirley Kurata are incredible, from oddly specific mundane casual wear to over-the-top feasts for the eyes. Texture, scale, and color are firing on all cylinders. I could have drawn numerous ensembles, but chose two of my very favorites.

Trivia!

• This is Ke Huy Quan's first major acting role in 20 years!! You may recognize him as a child actor from Indiana Jones and Temple of Doom and The Goonies.

• There are numerous references to classic films, including 2001: A Space Odyssey, In the Mood for Love, Ratatouille, etc.

• Shoutout to comedians Tallie Medel, Jenny Slate and Sunita Mani!

• If I were transformed into a Street Fighter character, I would be Jenny Slate's dog lady character.

• Stephanie Hsu is beyond incredible.

• See! No spoilers! Relax!

Recommend?

Duh!!!!!! You will shriek with laughter and then cry your eyeballs out. Go buy a ticket to Everything Everywhere All At Once. Like .... NOW!

(Another multiverse-ish movie I wanna quickly plug is the German experimental action flick, Run Lola Run.)