Gay & Lesbian

Brokeback Mountain (Widescreen Edition)

Brokeback Mountain is a sweeping epic that explores the lives of two young men a ranch hand and a rodeo cowboy who meet in the summer of 1963 and unexpectedly forge a lifelong connection. The complications joys and heartbreak they experience provide a testament to the endurance and power of love. Heath Ledger and Jake Gyllenhaal deliver emotionally charged remarkably moving performances in "a movie that is destined to become one of the great classics of our time" (Clay Smith The Insider).Format: DVD MOVIE Genre: DRAMA Rating: R UPC: 025192631528 Manufacturer No: 26315

A sad, melancholy ache pervades Brokeback Mountain, Ang Lee's haunting, moving film that, like his other movies, explores societal constraints and the passions that lurk underneath. This time, however, instead of taking on ancient China, 19th-century England, or '70s suburbia, Lee uses the tableau of the American West in the early '60s to show how two lovers are bound by their expected roles, how they rebel against them, and the repercussions for each of doing so--but the romance here is between two men. Ennis Del Mar (Heath Ledger) and Jack Twist (Jake Gyllenhaal) are two itinerant ranchers looking for work in Wyoming when they meet and embark on a summer sheepherding job in the shadow of titular Brokeback Mountain. The taciturn Ennis, uncommunicative in the extreme, finds himself opening up around the gregarious Jack, and the two form a bond that surprisingly catches fire one cold night out in the wilderness. Separating at the end of the summer, each goes on to marry and have children, but a reunion years later proves that, if anything, their passion for each other has grown significantly. And while Jack harbors dreams of a life together, the tight-lipped Ennis is unable to bring himself to even consider something so revolutionary.

Its open, unforced depiction of love between two men made Brokeback an instant cultural touchstone, for both good and bad, as it was tagged derisively as the "gay cowboy movie," but also heralded as a breakthrough for mainstream cinema. Amidst all the hoopla of various agendas, though, was a quiet, heartbreaking love story that was both of its time and universal--it was the quintessential tale of star-crossed lovers, but grounded in an ever-changing America that promised both hope and despair. Adapted by Larry McMurtry and Diana Ossana from Annie Proulx's short story, the movie echoes the sparse bleakness of McMurtry's The Last Picture Show with its fading of the once-glorious West; but with Lee at the helm, it also resembles The Ice Storm, as it showed the ripple effects of a singular event over a number of people. As always, Lee's work with actors is unparalleled, as he elicits graceful, nuanced performances from Michelle Williams and Anne Hathaway as the wives affected overtly and subliminally by their husbands' affair, and Gyllenhaal brings surprising dimensions to a character that could have easily just been a puppy dog of a boy. It's Ledger, however, who's the breakthrough in the film, and his portrait of an emotionally repressed man both undone and liberated by his feelings is mesmerizing and devastating. Spare in style but rich with emotion, Brokeback Mountain earns its place as a classic modern love story. --Mark Englehart

The Adventures of Priscilla Queen of the Desert (Extra Frills Edition)

They came. They conquered. They looked fabulous. This wonderfully inventive visually stunning and incomparably funny Australian import about three drag performers braving the vast rugged outback won the 1994 Academy Award® for Costume Design. Veteran actor Terence Stamp (Star Wars: The Phantom Menace) Hugo Weaving (The Matrix) Guy Pearce (L.A. Confidential) all give hilarious and heartfelt performances in a three-fishes-outta-water story that's "one of the wildest movies ever made" (Rex Reed New York Observer)! With a contract to perform a drag show way out in the Australian desert Tick (Weaving) Adam (Pearce) and Ralph (Stamp) each has his own reason for wanting to leave the safety of Sydney. Christening their battered pink tour bus "Priscilla" this wickedly funny and high-drama trio head for the Outback and into crazy adventures in even crazier outfits. You go girls!System Requirements:Running Time: 102 Mins.Format: DVD MOVIE Genre: COMEDY Rating: R UPC: 027616077110 Manufacturer No: M107711

A surprise hit in America, this 1994 Australian comedy is anchored by Terence Stamp as a transsexual who, in the company of two drag queens, travels to a remote desert location to put on a lip-synch performance--to the amazement of the locals. Getting there on a pink bus named Priscilla, the trio stop and play for people all over the Outback, getting the same homophobic, bewildered responses. The weak link in the film is dialogue that seems to have been pulled from "Queer Movie Banter for Dummies," all bitchy and cliché-ridden but fortunately salvaged by strong acting. The most fun comes whenever the three are performing; fans of Abba will be particularly pleased. --Tom Keogh

The Adventures of Priscilla Queen of the Desert Extras

Watch Director Stephan Elliot talk about the film's iconic costumes.

An Interview with Priscilla Costume Designer Tim Chappel

How much of costume design is your own inspiration / how much is inspired by the character? I rarely have creative free reign like I had on Priscilla. Priscilla was one of those rare situations where the powers that be said "Go for it". The characters are my babies. All design is meant to build character and help move the story along. Fortunately Mitzi, Felacia, and Bernardette were outrageous drag queens so that was not only easy bit great fun. Hard as it may seem, there are nuances that aren't obvious. For example when the queens are climbing Kings Canyon each of their headdresses are a distillation of their individual personalities. Bernardette is the Evil Queen, Mizti has lipsticks, rollers and pacifiers, and Felecia has Cupie dolls that are staring at themselves in little mirrors. What is the process of physically rendering the costumes? Do you build them by hand? Work with a team? Hit vintage stores? I usually begin by sketching roughs. Then once everyone has had their input - or cocked their leg as it seems more of the time, I do the finished sketches. These get signed off on literally becoming a visual contract. Then they get handed to the Costumier that builds a toile (a practice one). That gets fitted on the talent and we all um and ah--hopefully more ooh and ah if it's working well. Then we have a second fitting to perfect the fit and a final fitting to see the final project. On Priscilla however I simply grabbed whatever I had around or worked out which costume could be sacrificed and started gluing and sewing and hoping for the best. If something started to break there was always the hot glue gun and a handful of glitter to disguise any lumps and bumps. The costumes were literally finished when they would tear them out of my hands. Did any of the actors on Priscilla have any costume concerns? Was anyone concerned the costume would overpower their performance? The actors were all good sports. Terence told us he wanted to look like Holly Golightly but he soon gave up on that idea. He actually looked quite beautiful at times I thought. There was a moment at Kings Canyon when Terrence said that something was bothering his forward and I looked over to see a single drop of blood run down his brow--whoops, with only $12,000 US there was no room for comfort. What's the difference between cinematic fashion and street (real people) fashion? I.e., does it have to be "bigger" if it's on the screen? There are lots of differences between what you wear on the street, on stage, or in stills. Each medium requires special attention. For example in film you have to find out what kind of film stock is being used, what kind of filters and the general visual feel that the production designer and cinematographer are trying to go for. Of course the Director is trying to convey very specific ideas and using texture, color and contrast your job is to build, along with your team, that visual statement. The use of detail is also vital; sometimes you can't even see it but the actor will know its there and much detail, even though you can't literally see it, becomes absorbed in a more subconscious way. In your opinion, who looked the most beautiful (lead roles) in drag, who was the most fun to work with? They were all beauties. Guy Pearce had a background in musical theatre so he was prone to stealing the show. They were all great fun and still people I count as good friends. Any idea the film would take off to become an enormous hit and cult classic as well as meaning so much to fans around the world? We thought we were basically making a home movie; it wasn't until we had the 15-minute standing ovation at the Cannes Film Festival that we knew we had created a DRAG MONSTER! Where did you get the inspiration and know-how regarding costumes? Was there research involved? How did you get involved in doing this movie? I started with the music and let it send me in a delirious creative free fall and took notes as I spun. We got to have a buying trip to NYC in '92--WOW. I got to meet Girlina and Lasdy Bunny and all the voguing Queens--we were doing something totally different but Queens are trick everywhere aren't they. I got involved because Stephan needed a Costume designer who could do everything: design, sew and wear--if necessary. I was working as one of a pair of male backup dancers (an "earring") for a drag-queen troupe called Glamourworld. I used to make all our costumes and we were pretty successful. We even toured Asia going to Hong Kong, Shanghai and Ho Chi Mihn city--all on DragOn Air. How funny is that? What inspires you--what movies stand out to you as having great costumes? It all goes in and just comes out this way. I don't consciously look for inspiration. I like to think of myself as a creative distillery. If you could dress Oscar (of the Academy Awards) - what would you have him wear? My Oscar was on display in Australia's National Gallery in an Exhibition called "The Sights and Sounds of Australian Film." Oscar had purple hair and a disco tube dress. I butchered a Rock and Roll Barbie. She didn't seem to mind 'cause Oscar looked roool perty!

Beyond The Adventures of Priscilla Queen of the Desert

Cross-Dressing 101

The Adventures Of Priscilla, Queen Of The Desert: Original Motion Picture Soundtrack

More from MGM

Stills from The Adventures of Priscilla Queen of the Desert

Maurice - The Merchant Ivory Collection

The second of the three Merchant/Ivory films adapting E.M. Forster novels (between A Room with a View and Howard's End), Maurice deals with a theme few period pieces dare mention--a young man's struggle with his homosexuality. It's not just a gay coming-of-age story, however. The hero wrestles with British class society as much as his personal and sexual identity.

The film opens on a stormy, windswept beach, as an older man awkwardly instructs young, fatherless Maurice Hall (James Wilby) in the "sacred mysteries" of sex. The same turbulent, wordless struggle with passion lasts throughout this slowly evolving, beautifully filmed story. Novelist E.M. Forster's brainy, British melodrama hinges on choice and compulsion, as the pensive hero falls for two completely different men. First comes frail, suppressed Clive (Hugh Grant), who wants nothing more than classical Platonic harmony... and a straight lifestyle. (Grant's performance is so convincing, one wonders how he ever became a heterosexual sex symbol.) After Clive's wedding, Maurice turns to hypnosis to cure his unspeakable longings. Unfortunately, his "cure" is interrupted by Clive's lustful, brooding, barely literate gamekeeper Scudder (Rupert Graves), a worker more at home gutting rabbits than discussing the classics. Maurice's love for a "social inferior" forces him to confront his illicit desire and his ingrained class snobbery. --Grant Balfour

Set against the stifling conformity of pre-World War I English society, E.M. Forster's Maurice is a story of coming to terms with one's sexuality and identity in the face of disapproval and misunderstanding. Maurice Hall (James Wilby) and Clive Durham (Hugh Grant) find themselves in love at Cambridge. In a time when homosexuality was punishable by imprisonment, the two must keep their feelings for one another a complete secret, even though Clive refuses to allow their relationship to move beyond the boundaries of "platonic" love. After a friend is arrested and disgraced for "the unspeakable crime of the Greeks," Clive abandons his forbidden love, marries, and enters into the political arena. Maurice, however, struggles with questions of his identity and self-confidence, even seeking the help of a hypnotist to rid himself of his undeniable urges. But while staying with Clive and his shallow wife, Anne, Maurice is seduced by the affectionate and yearning servant Alec Scudder, (Rupert Graves), an event that brings about profound changes in Maurice's life and outlook. Sparking direction by James Ivory, a distinguished performance from the ensemble cast, and a charged score by Richard Robbins all combine to create a film of undeniable power, one that is both romantic and moving, and a story of love and self-discovery for all audiences.

Brokeback Mountain (Full Screen Edition)

A sad, melancholy ache pervades Brokeback Mountain, Ang Lee's haunting, moving film that, like his other movies, explores societal constraints and the passions that lurk underneath. This time, however, instead of taking on ancient China, 19th-century England, or '70s suburbia, Lee uses the tableau of the American West in the early '60s to show how two lovers are bound by their expected roles, how they rebel against them, and the repercussions for each of doing so--but the romance here is between two men. Ennis Del Mar (Heath Ledger) and Jack Twist (Jake Gyllenhaal) are two itinerant ranchers looking for work in Wyoming when they meet and embark on a summer sheepherding job in the shadow of titular Brokeback Mountain. The taciturn Ennis, uncommunicative in the extreme, finds himself opening up around the gregarious Jack, and the two form a bond that surprisingly catches fire one cold night out in the wilderness. Separating at the end of the summer, each goes on to marry and have children, but a reunion years later proves that, if anything, their passion for each other has grown significantly. And while Jack harbors dreams of a life together, the tight-lipped Ennis is unable to bring himself to even consider something so revolutionary.

Its open, unforced depiction of love between two men made Brokeback an instant cultural touchstone, for both good and bad, as it was tagged derisively as the "gay cowboy movie," but also heralded as a breakthrough for mainstream cinema. Amidst all the hoopla of various agendas, though, was a quiet, heartbreaking love story that was both of its time and universal--it was the quintessential tale of star-crossed lovers, but grounded in an ever-changing America that promised both hope and despair. Adapted by Larry McMurtry and Diana Ossana from Annie Proulx's short story, the movie echoes the sparse bleakness of McMurtry's The Last Picture Show with its fading of the once-glorious West; but with Lee at the helm, it also resembles The Ice Storm, as it showed the ripple effects of a singular event over a number of people. As always, Lee's work with actors is unparalleled, as he elicits graceful, nuanced performances from Michelle Williams and Anne Hathaway as the wives affected overtly and subliminally by their husbands' affair, and Gyllenhaal brings surprising dimensions to a character that could have easily just been a puppy dog of a boy. It's Ledger, however, who's the breakthrough in the film, and his portrait of an emotionally repressed man both undone and liberated by his feelings is mesmerizing and devastating. Spare in style but rich with emotion, Brokeback Mountain earns its place as a classic modern love story. --Mark Englehart

Brokeback Mountain is a sweeping epic that explores the lives of two young men, a ranch hand and a rodeo cowboy, who meet in the summer of 1963 and unexpectedly forge a lifelong connection. The complications, joys and heartbreak they experience provide a testament to the endurance and power of love. Heath Ledger and Jake Gyllenhaal deliver emotionally charged, remarkably moving performances in "a movie that is destined to become one of the great classics of our time" (Clay Smith, The Insider).

Walk on Water

An unusual psychological spy thriller, Walk on Water follows Israeli agent Eyal (Lior Ashkenazi, from the superb romance Late Marriage) as he tries to learn from a German brother and sister (Knut Berger, Push and Pull, and Caroline Peters, Schone Frauen) whether or not their grandfather, a Nazi commander, is still alive--but his growing friendship with the pair forces him to grapple with his wife's suicide only months before. Walk on Water grapples with racial prejudice and homophobia without once seeming preachy; surprisingly, the spy storyline introduces these issues naturally, as Eyal's hostility towards Arabs and his blithe view of Nazi war criminals are central to his character. Ashkenazi is charismatic and subtle; his bedroom eyes and understated smolder make him something of an Israeli Clive Owen. Don't buy Walk on Water expecting James Bond spectacle, but the excellent performances, intelligent script, and quiet tension will draw you into this thoughtful and emotionally nuanced movie. In English, with a few subtitled scenes in Hebrew and German. --Bret Fetzer

This enthralling award-winning film by internationally-acclaimed director Eytan Fox explores the motives, strengths, and, ultimately, the humanity of an Israeli assassin sent to rectify a wrong committed five decades earlier. Eyal is a top assassin in the Israeli secret service. He has killed terrorists before, but this time he is sent to eliminate an aging former Nazi war criminal. During his mission, Eyal meets his target's granddaughter and grandson, who inadvertently help him uncover his own troubled history and face his demons, while they discover the ugly truth their family has hidden from them for decades. What began as a straightforward mission, has suddenly escalated in intensity and complexity - thrusting three very different people into a thrilling triangle of murder, friendship and fate.

Fire

The Best of Boys in Love

It takes all these words and more to describe The Best of Boys in Love, a wildly diverse collection of films that mixes of styles, settings, and stories ranging from "elegant gay romance [that is] very sexy" (Frontiers), to a musical send-up of Hollywood-- a la New York s village, to an "exquisite period piece" (Village Voice) set in New Zealand. The Best of Boys in Love DVD features seven audience favorites selected from our collection of award-winning gay short films. Barry Purves' ACHILLES features the Greek "bad boys" Achilles and Petroclus as they battle the Trojans and their desire for each other in this visually stunning animated film. John Scott Matthews tribute to underground filmmaker Kenneth Anger, BOOT CAMP, is a cross between a leather bar fantasy and an RKO musical that is "charmingly droll, deftly done, without a wasted frame." (Village Voice) P. David Ebersole's DEATH IN VENICE, CA features a repressed academic who finds himself drawn in by the seductive wiles of his landlady's son. Todd Downing's "inspired and riotous" (Village Voice) DIRTY BABY DOES FIRE ISLAND tells the tale of the bizarre journey of "Dirty Baby", who washes up on the shores of this isle of sex, drugs and debauchery. New Zealander Stewart Main's TWILIGHT OF THE GODS is a sub tropical tale of a Maori warrior who nurses a European soldier back to life. David Briggs' KAREN BLACK LIKES ME is a weirdly funny homage to the 70s cult classic Trilogy of Terror while Patrick McGuinn's SPF 2000 is another homage to early Italian sexploitation films.

For A Lost Soldier

Beefcake

Canadian filmmaker Thom Fitzgerald made his name on the gay film scene with his dramatic fantasia The Hanging Garden, but with Beefcake he captures a more lightheartedly dreamy tone: The film takes its lead from Valentine Hooven's lip-smackingly compulsive coffee table tome of the same name. We're offered a teasing, pseudo-history of mid-century pop male photography, featuring quaint muscle-mag shots and nude "studies" of, among others, a hungrily seductive young Joe Dallesandro (before he made his name in underground Andy Warhol flicks like Flesh). Dallesandro's here to talk, along with other "models" who mostly supply commentary on Bob Mizer, the enterprising founder of the Athletic Model Guild. Fitzgerald blends the real-life documentary material into his fictional confection concerning a sexy bumpkin who falls into Mizer's AMG set-up (it produced America's first closeted gay erotica publication, passing itself off as an innocently obsessive guide to health and fitness). The campy original story--the hero's Valley of the Dolls-inspired name is Neil O'Hara--is a bit dumb, actually, mostly because it's not even half as interesting as the real deal. Lots of innocently nude frolicking doesn't hurt, though, and the film engages when it manages to be as naively sweet and erotic as Mizer's bygone magazines. --Steve Wiecking

"Beefcake," Thom Fitzgerald's (The Hanging Garden) provocative blending of fiction and documentary, tells the story of Bob Mizer, the pioneering founder of the Athletic Model Guild, a company which produced still photographs and short films extolling the beauty and chiseled physiques of men. The fiction story follows photographer and enterprising businessman Mizer, who teamed up with his mother in 1945 to film his beefy star-wannabes around his sun-drenched pool. It is here that Neil, a naive, right-off-the-bus teen is lured into using his handsome looks to become a model. The wide-eyed Neil soon learns about the world of sex and prostitution. But a police raid and ensuing criminal trial soon threaten both of the men's worlds. Interspersed with the story are rare archival footage and interviews with former co-workers, customers and models.

Head On