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Queering the Shakespeare Film Ii Queering the Shakespeare Film Gender Trouble, Gay Spectatorship and Male Homoeroticism

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Queering the Shakespeare Film Ii Queering the Shakespeare Film Gender Trouble, Gay Spectatorship and Male Homoeroticism Queering the Shakespeare Film ii Queering the Shakespeare Film Gender Trouble, Gay Spectatorship and Male Homoeroticism Anthony Guy Patricia Bloomsbury Arden Shakespeare An imprint of Bloomsbury Publishing Plc Bloomsbury Arden Shakespeare An imprint of Bloomsbury Publishing Plc Imprint previously known as Arden Shakespeare 50 Bedford Square 1385 Broadway London New York WC1B 3DP NY 10018 UK USA www.bloomsbury.com BLOOMSBURY, THE ARDEN SHAKESPEARE and the Diana logo are trademarks of Bloomsbury Publishing Plc First published 2017 © Anthony Guy Patricia, 2017 Anthony Guy Patricia has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as author of this work. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury or the author. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: HB: 978-1-4742-3703-1 ePDF: 978-1-4742-3705-5 ePub: 978-1-4742-3704-8 Library of Congress Cataloging-in-Publication Data A catalog record for this book is available from the Library of Congress. Cover image: Imogen Stubbs as Viola and Toby Stephens as Orsino, Twelfth Night: or What You Will (1996) directed by Trevor Nunn © Renaissance Films / AF archive / Alamy Stock Photo Typeset by Fakenham Prepress Solutions, Fakenham, Norfolk NR21 8NN For my parents, Richard and Margaret Patricia; my cousin, Savannah Hall; and my mentor and friend, Evelyn Gajowski vi CONTENTS List of Illustrations ix Acknowledgements xiii Introduction: The presence of the queer in the Shakespeare film xvii 1 Max Reinhardt and William Dieterle’s A Midsummer Night’s Dream and the queer problematics of gender, sodomy, marriage and masculinity 1 2 The queer director, gay spectatorship and three cinematic productions of Shakespeare’s ‘straightest’ play – Romeo and Juliet 41 3 The visual poetics of gender trouble in Trevor Nunn’s Twelfth Night, Baz Luhrmann’s Romeo + Juliet and Michael Hoffman’s William Shakespeare’s A Midsummer Night’s Dream 89 viii CONTENTS 4 Screening the male homoerotics of Shakespearean romantic comedy on film in Michael Radford’s The Merchant of Venice and Trevor Nunn’s Twelfth Night 135 5 ‘I am your own forever’: Iago, queer self- fashioning and the cinematic Othellos of Orson Welles and Oliver Parker 181 Conclusion: Queering the Shakespeare film in the early twenty-first century 213 Notes 221 Bibliography 249 Index 259 LIST OF ILLUSTRATIONS Figure 1 A downcast Hippolyta (Verree Teasdale) with a black snake wrapped around her bosom, shoulders and arms. A Midsummer Night’s Dream, dir. Max Reinhardt and William Dieterle, 1935. 5 Figure 2 Demetrius (Ross Alexander) and Lysander (Dick Powell) falling into each other’s arms. A Midsummer Night’s Dream, dir. Max Reinhardt and William Dieterle, 1935. 34 Figure 3 From left to right, Mercutio (John Barrymore), Benvolio (Reginald Denny) with strategically placed sporran at his waist, Romeo (Leslie Howard) and Tybalt (Basil Rathbone) brawling in the streets of Verona. Romeo and Juliet, dir. George Cukor, 1936. 48 Figure 4 Mercutio (John Barrymore), centre, with a large gold hoop earring clearly visible in his left ear. Romeo and Juliet, dir. George Cukor, 1936. 50 Figure 5 Romeo (Leonard Whiting), in tights, attempting to reason with Tybalt (Michael York), in tights and with his back to the audience/camera. Both are surrounded by a cadre of Montagues and Capulets in Romeo and Juliet, dir. Franco Zeffirelli, 1968. 57 Figure 6 Romeo (Leonard Whiting) and Juliet (Olivia Hussey) in bed after consummating their marriage in Romeo and Juliet, dir. Franco Zeffirelli, 1968. 67 Figure 7 Left to right: Juliet/Glenn (Matt Doyle) and Romeo/Sam (Seth Numrich) sharing their first kiss.Private Romeo, dir. Alan Brown, 2011. 80 x LIST OF ILLUSTRATIONS Figure 8 Glenn (Matt Doyle) on the top, and Sam (Seth Numrich) on the bottom, alive, smiling and very much in love after their performance of Romeo and Juliet’s death scene (5.3). Private Romeo, dir. Alan Brown, 2011. 83 Figure 9 Imogen Stubbs as Viola before her transformation into the boy Cesario in Twelfth Night, dir. Trevor Nunn, 1996. 93 Figure 10 Imogen Stubbs as Viola after her transformation into the boy Cesario in Twelfth Night, dir. Trevor Nunn, 1996. 94 Figure 11 Duke Orsino (Toby Stephens) and his servant, the young man known by one and all as Cesario (Imogen Stubbs), about to kiss one another in Twelfth Night, dir. Trevor Nunn, 1996. 102 Figure 12 Romeo’s best friend Mercutio’s (Harold Perrineau) title card. William Shakespeare’s Romeo + Juliet, dir. Baz Luhrmann, 1996. 108 Figure 13 Romeo (Leonardo DiCaprio) cradling his dead best friend Mercutio (Harrold Perrineau) in his arms. Romeo + Juliet, dir. Baz Luhrmann, 1996. 118 Figure 14 Francis Flute (Sam Rockwell), with a genuinely innocent smile on his face, moments before being cast by Peter Quince (Roger Rees) as Thisbe. William Shakespeare’s A Midsummer Night’s Dream, dir. Michael Hoffman, 1999. 121 Figure 15 Flute as Thisbe (Sam Rockwell), sans wig, preparing to die so that he/she can be with his/her beloved Pyramus (Kevin Kline) in William Shakespeare’s A Midsummer Night’s Dream, dir. Michael Hoffman, 1999. 128 Figure 16 Bassanio (Joseph Fiennes) kissing Antonio (Jeremy Irons) in Antonio’s bedroom in William Shakespeare’s The Merchant of Venice, dir. Michael Radford, 2004. 148 LIST OF ILLUSTRATIONS xi Figure 17 Antonio (Jeremy Irons) ‘catching’ Bassanio’s (Joseph Fiennes) kiss and holding it to his lips in William Shakespeare’s The Merchant of Venice, dir. Michael Radford, 2004. 150 Figure 18 A compassionate and adoring Antonio (Nicholas Farrell) attempting to comfort an extremely distraught Sebastian (Stephen Mackintosh) in Twelfth Night, dir. Trevor Nunn, 1996. 164 Figure 19 A thrilled Sebastian (Stephen Mackintosh) and an equally happy Antonio (Nicholas Farrell) reunited in Illyria in Twelfth Night, dir. Trevor Nunn, 1996. 168 Figure 20 Iago (Micheál MacLiammóir) effeminately cloaked and hooded in Othello, dir. Orson Welles, 1952. 194 Figure 21 Inside the Cypriot sauna where, a short while later, Iago (Micheál MacLiammóir) will stab Roderigo (Robert Coote) to death in Othello, dir. Orson Welles, 1952. 200 Figure 22 Othello (Laurence Fishburne) and Iago (Kenneth Branagh) kneeling, swearing their vows to one another and embracing in 3.3 of Othello, dir. Oliver Parker, 1995. 206 Figure 23 Iago (Kenneth Branagh) lying in the crook of Othello’s (Laurence Fishburne) leg at the conclusion of Othello, dir. Oliver Parker, 1995. 208 xii ACKNOWLEDGEMENTS As would be expected in relation to a project that has taken the better part of a decade to complete, I have incurred a great many debts along the way. My most humble thanks go to Evelyn Gajowski for her belief in me and my ideas, for her unflagging support, for her careful nurturing and, above all, for her friendship. I am just as thankful to my parents, Richard and Margaret Patricia; without them, I would never have been able to pursue my education through to a PhD or, ultimately, to write this book. At the University of Nevada, Las Vegas, I am grateful to Vince Pérez, Ed Nagelhout, Ralph Buechler, K. C. Davis and Philip Rusche, all of whom served as members of my master’s thesis and doctoral dissertation committees, the research projects from which this book derives. In addition, Arthur L. Little, Jr, from the University of California, Los Angeles, graciously served as an outside reader of my dissertation; I very much appreciate his generosity and his insights. Ruby Fowler, former Assistant Director of Composition in the English Department at UNLV, has helped me in more ways than I can count over the years, and I cannot thank her enough. All of the staff members at UNLV’s Lied Library – especially Priscilla Finley – also deserve recognition for everything they did to provide me with the myriad resources I needed to complete my research and writing. I am, furthermore, particu- larly grateful to UNLV’s Graduate and Professional Student Association (GPSA) – especially to its manager extraordinaire, Becky Boulton – and to the English Department’s Research Resources Committee (headed during my tenure at UNLV by John Bowers and Kelly Mays, respectively), both of which funded numerous research and professional conference trips xiv ACKNOWLEDGEMENTS in the years between 2006 and 2014. This book would not exist without either the pastoral or the tangible financial support of both of the GPSA and the RRC. At Concord University, I would like to thank the faculty and staff in the Division of Humanities and the Department of Languages and Literature for making me feel welcome at my new institutional home from the very beginning in August 2014. I am particularly grateful to my colleague Amberyl Malkovich, who kindly read various chapter drafts of this book and provided me with generous feedback mixed with her unique brand of droll, Victorian humour. In addition, Connie Shumate, Evan Painter, Donna Musick, Seth Caudell and Doug Moore of the Marsh Library at Concord, all of whom went above and beyond the call of duty to source the materials I needed to complete this book, are deserving of my thanks as well. Nothing was beyond their reach and their collegiality is second to none. I thank Carolyn Worley, the Division of Humanities and Department of Languages and Literature Program Assistant II, too, for all of her assistance.
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