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Introduction

Over the course of his long and illustrious career as a sexologist, Dr. Magnus Hirschfeld used his knowledge and empathy to create one of the very first portrayals of homosexuality on film by co-writing the 1919 film Different from the Others. Using passion and a hope for future generations across the world, Hirschfeld, alongside co-writer and director Richard Oswald, began work on what became a groundbreaking piece of LGBTQ+ history. As exemplified by this quote, said by Dr. Hirschfeld playing a version of himself, the film was something entirely new to the world;

"If you want to honor the memory of your dead friend, you must not take your own life, but instead preserve it to change the prejudices whose victim – one of the countless many – this dead man was. That is the task of the living I assign you. Just as Zola struggled on behalf of a man who innocently languished in prison, what matters now is to restore honor and justice to the many thousands before us, with us, and after us. Through knowledge to justice!" [1]

At a time when such topics were taboo, this collaboration sparked controversy and intrigue in equal measure. Banned in its native Germany, Different from the Others holds significance as the first film to positively portray gay individuals. The film told the LGBTQ+ community that life is worth living as it means you live for those that were lost due to prejudice. This snippet of a much larger story marked the beginning of LGBTQ+ identities in film. Specifically, how they were portrayed before the Hays Code, a set of rules put in place by studios to censor language, sexuality, and violence in films between 1933 and 1967, and how unrestricted these films were in the period before the code was introduced. This essay will discuss the impact films such as Different from the Others had on American silent and pre-Hayes code films and what that impact looks like nearly ninety-five years since the Hays code was introduced.

For this project, I wanted to explore the often suppressed and forgotten films of the early Hollywood years that held representations of LGBTQ+ identities. This topic is often omitted from current conversations about gender and sexuality and is rarely mentioned when talking about influential queer filmmaking. Who made these films? What cultural or societal fears held back the films being researched? Through the research I have conducted, there are laws, societal norms, and personal struggles of the filmmakers have all played large parts into the past of LGBTQ+ films and the present-day state of them as well.

       For this project, I make use of films created in the silent and pre-Hays code era of Hollywood.  Watching, analyzing, reviewing them within the frame of their impact on society and what they meant to the LGBTQ+ at the time of their release. While these films are the main primary sources for my research – they have the setbacks of being either incomplete or partially recovered. Another drawback to using these films is there is not always much information on them available at all except the film itself. Often there is barely a cast list, let alone biographies of the writers or directors. With that said, I try my best to find as much first or secondhand information on the filmmakers as possible so I can have a better idea of the context for why they made the film they made. However, I will use as many contemporary reviews, scripts, and photographs as possible to round out what is left out from the films.

            As I have read through my secondary sources, there are common themes that arise – societal acceptance, repression, and hiding one’s true self. To me, as someone looking at the LGBTQ+ community from the outside, these themes are still prevalent in todays queer culture. As I read in Amanda Ann Klein’s book about exploring and redefining subcultures in American film from 1900 to present, her work has transcended time due to bigotry still being wildly prevalent today. The impact of different subcultures on queer culture and beyond is one of the most integral aspects of my project. How these films I am studying for this blog have affected the films that came after and will be made in the future. I used Queering the (New) Deal: Lesbian and Gay Representation and the Depression-Era Cultural Politics of Hollywood’s Production Code by David Lugowski to learn what queer culture was like in those early days of the Depression and gain insight into how society was treating LGBTQ+ people seen or implied on screen. In short, it was as bad one might imagine it to be for those who identified as gay, lesbian, or transgender. At the time, people had no rights and no way to be themselves publicly. This affects how I am able to look at any films from the period that may be homoeotic or have any queer undertones. Finally, I found Gregg Bachman’s study into the viewing habits of American silent film viewers to be incredibly helpful at giving me the look into what I was unable to see from their point of view. With his book I could try to view the movies as those audiences had watched them in their day.

            By traveling back in time to the silent age of Hollywood to explore the queer identities onscreen, I can unlock parts of history that are often inaccessible to the people who are directly affected by its existence. The stories told in these films are not so different from the stories we see in films today. By viewing them through a historical lens and then a modern one, these films are given new life for current and future generations to explore. Through this, anyone form historians to casual blog scrollers, can learn about the life of queer people before censorship set the film industry back over 100 years in terms of progressive social movement for the LGBTQ+ community.

Notes and References:

[1] Different From the Others, directed by Richard Oswald. (1919).

Amanda Ann Klein, American Film Cycles Reframing Genres, Screening Social Problems, and Defining Subcultures (Austin: University of Texas Press. 2011).

David M. Lugowski, "Queering the (New) Deal: Lesbian and Gay Representation and the Depression-Era Cultural Politics of Hollywood’s Production Code" Cinema Journal 38, no. 2 3-35 (1999).

Gregg Bachman, "Still in the Dark - Silent Film Audiences" Film History 9, no. 1 23–48, (1997).

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Timeline of LGBTQ+ Identities in Film

[lgbtqsilentfilmproject]

Viktor und Viktoria (1933)

Directed by Reinhold Schünzel.

Starring; Renate Müller, Hermann Thimig, Hilde Hildebrand.

Viktor und Viktoria is an often remade and widely beloved film of the early 1930s. Existing at a time and a place where the Hays code had little to no affect but greatly influenced filmmakers around the globe to imitate or recreate the gender bending comedy that changed the musical genre forever.

Comedic and daring in its exploration of gender expectations, Viktor und Viktoria made way for more nuanced examination of queer topics in film. This film, alongside Morocco, were pioneers in defying what was expected of women at the time of its release by flipping feminine norms on their head. Disguised in comedy, the film was not as outrageous as others I’ve explored over the course of this project.

Set in a pre-World War II Germany, the film is about a down on her luck singer who disguises herself as a female impersonator only to end caught up in a bemusing situation of love and lies. Viktor opened up discussions on the performative nature of gender roles and gender fluidity with its radical take on what it means to be male and female.

With a legacy that extends far beyond its release, Viktor und Viktoria spawned many remakes and recreations over the years. Most prominently being the 1982 version starring Julie Andrews as the titular character, which further cemented the films impact on promoting greater acceptance and visibility of queer and gender fluid characters on the silver screen. Director Reinhold Schünzel was even an actor in earlier film, Different From the Others. By breaking the mold, Viktor und Viktoria significantly broadened the conversation on what traditional gender roles were and queer filmmaking.

Notes and References:

 Hake, Sabine, Popular Cinema of the Third Reich. Austin: University of Texas Press, 2010)

Klein, Amanda Ann, American Film Cycles Reframing Genres, Screening Social Problems, and Defining Subcultures, (Austin: University of Texas Press, 2011)

Sutton, Katie, The Masculine Woman in Weimar Germany, (New York: Berghahn Books, 2011).

[lgbtqsilentfilmproject]

Morocco (1930)

Directed by Josef von Sternberg.

Starring; Marlene Dietrich, Gary Cooper.

Morocco is a gender bending, sexually charged American film debut from queer icon Marlene Dietrich. Leaving a mark on LGBTQ+ culture for nearly a century, Morocco has lived on in the minds of society well after its initial release in the form of Madonna, a Dior fashion line, and countless drag performances.

This film is pivotal to queer cinema history in many ways, Morocco is often heralded as the first truly mainstream film to depict a queer character as played by a bisexual actress, Dietrich. Challenging the status quo, defying gender norms, and providing a glimpse into the complexities of gender and sexuality. By gradually pushing the boundaries of what was acceptable at the time, Morocco paved a way for future actors and filmmakers to express themselves more freely.

Moreover, Dietrich herself, alongside the film of course, played a crucial role in the development of queer cinema in America and worldwide. She embodied taboo and queerness in a way that was not seen before by many Americans. Going against their rigid moral code to provoke their minds. This film in particular stands as a testament to her staying power as an icon of LGBTQ+ filmmaking. People still emulate the Dietrich style for fashion, art, and film. A style that often stems directly from the scene in Morocco where she is dressed in menswear and kisses a woman. The legacy she and this film leave behind is one of immense gratitude and excitement from those who it influenced.

Notes and References:

Klein, Amanda Ann, American Film Cycles Reframing Genres, Screening Social Problems, and Defining Subcultures, (Austin: University of Texas Press, 2011)

Lugowski, David M., Queering the (New) Deal: Lesbian and Gay Representation and the Depression-Era Cultural Politics of Hollywood’s Production Code." Cinema Journal 38, no. 2 3-35, (1999).

Sarris, Andrew ,"You Ain't Heard Nothin' Yet": The American Talking Film History and Memory, 1927–1949, (New York: Oxford University Press, 1998).

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Pandora’s Box (1929)

Directed by G.W. Pabst

Starring; Louise Brooks, Francis Lederer.

Pandora’s Box is a film alive with not only lesbian representation but queer coded women. A German produced film starring American and other international actors, the legacy of this film is one of the biggest explored thus far.

G.W. Pabst’s Pandora’s Box has had a significant and lasting impact on not only American LGBTQ+ cinema but international queer cinema at large. The character of Lulu, portrayed by Louise Brooks, embodies a free spirited, sexually liberated woman who was challenging the social norms of her time. Daring to explore themes of homosexuality and bisexuality, though subtly, left a lasting impact on queer filmmaking as this was extremely rare at this point in filmmaking.

The character played by Alice Roberts, the Countess Geschwitz, is a revolutionary representation of lesbian characters on screen. Depicted as Lulu’s ultra-devoted admirer. Although steeped in stereotypes and negative attitudes towards lesbians at the time, provided visibility to queer characters that was virtually nonexistent in this period of mainstream cinema. The Countess was included as a character without social condemnation in universe. This was another atypical aspect of the film that solidifies it as a landmark film for queer representation in film.

Through its thematic exploration of gender fluidity, uninhibited freedom and, rebellion against societal norms - the film influenced many filmmakers after its release. Specifically because of Pabst and Brooks’ work on the project. The latter being a source of inspiration to LGBTQ+ who seek to explore identity and desire in their own work. In Panrdora’s Box, challenge to the conventional concept of gender and sexuality to celebrate difference, its themes continue to resonate with modern queer filmmakers.

Notes and References:

Brooks, Louise, Pabst and Lulu. Reflections on Pandora's Box, The Criterion Collection (2006), 74–93.

Callahan, Vicki, Reclaiming the Archive Feminism and Film History, (Detroit: Wayne State University Press, 2010).

Hoberman, J., Opening Pandora's Box. Reflections on Pandora's Box, The Criterion Collection, (2006), 7–12.

[lgbtqsilentfilmproject]

Wings (1927)

Directed by William A. Wellman, Harry d'Abbadie d'Arrast

Starring; Clara Bow, Richard Arlen, Charles Rogers.

While not an explicitly LGBTQ+ film - Wings will go down in history as the first film to show a male-male kiss. With homosexual subtext throughout, the first Best Picture winner at the Academy Awards has been hotly debated for decades as an integral part of queer film history.

Despite Different From The Others being the first film to positively portray gay characters, the individuals in the film do not share a kiss between them at any point during the run time. Since Wings is not a film about gay people, or starring gay actors - many people have taken issue with its place as an important part of LGBTQ+ film history. This is understandable as the most queer elements of this film can be found in silent moments between two male characters - not explicitly.

Being an extremely mainstream film has aided in the legacy of Wings as an iconic landmark for queer cinema. With its main characters, Jack and David, share an unusually intimate bond that is not common of wartime friendships. This has lead to much speculation about the true motives of their relationship in the film as it ends with a kiss shared between the two of them. Progressive and emotionally deep are what pushed Wings to the forefront of American theater viewing schedules. Setting the film up for great success both commercially and critically as it won the very first Academy Award for Best Picture at the 1928 Academy Awards Ceremony.

Wings stands as an example as whether intentionally or not, that challenging prevailing societies norms can have a lasting impact on the future generations to come and the art they create.

Notes and References:

Bachman, Gregg, "Still in the Dark - Silent Film Audiences." Film History 9, no 1 (1997), 23–48.

Danesi, Marcel, The History of the Kiss: The Birth of Popular Culture. (London: Palgrave Macmillan, 2013)

Mast, Gerald, The Movies in Our Midst: Documents in the Cultural History of Film in America, (Chicago: University of Chicago Press, 1986)

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The Pleasure Garden (1925)

Directed by Alfred Hitchcock

Starring: Virginia Valli, Carmelita Geraghty, Miles Mander.

Alfred Hitchcock’s directorial debut is a study in how to subvert expectations and use narrative to your advantage. The Pleasure Garden uses its glamorous, yet morally ambiguous characters to push boundaries that would alter be further explored by queer filmmakers in the decades to come.

As many of the films before this one, The Pleasure Garden is a pre-Hays code production, balancing on the edge of socially acceptable and morally unacceptable. While not explicitly about gay or queer characters, this film explores women outside of their normal social sphere and instead focuses on dance hall girls. Critiquing mainstream societies attitudes towards women and the “others” often pushes to the bottom of the social bracket.

Garden offered a lens through which to view non-traditional relationships and identities. Alongside Mikaël, this films nuance and subtlety attracted filmmakers to copy the same style of narrative in their own films.

By the mid-20th century, the Hays code was no more and filmmakers could more freely explore topics such as gender, sexuality, and race. Drawing on inspiration from earlier works of Hitchcock and contemporaries, new filmmakers saw themselves on screen for the first time. Subtle defiance defines these films and aids in their continued historical value. Once again, while not an explicitly LGBTQ+ film, The Pleasure Garden still exemplifies how early cinemas explorations of the human condition and societal boundaries laid the foundational groundwork for which future queer filmmakers could bravely emerge victorious.

Notes and References:

Hitchcock, Alfred, Hitchcock on Hitchcock: My Screen Memories. University of California Press, 1936).

Klein, Amanda Ann, American Film Cycles Reframing Genres, Screening Social Problems, and Defining Subcultures, (Austin: University of Texas Press, 2011)

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Mikaël (1924)

Directed by Carl Th. Dryer

Starring: Benjamin Christensen, Walter Slezak

Mikaël is a 1924 German silent film that follows the downward slide of a relationship between artist and muse. Notable for its forward handling of gay characters at a time when LGBTQ+ topics were frowned upon - this film inspired American filmmakers to pursue queer topics more boldly.

Mainstream early 20th century cinema shied away from portraying overt homosexual or queer characters, even before the Hays Code had been introduced. Mikaël, directed by Carl Th. Dreyer, paved a way for future discovery of LGBTQ+ themes in the years after its release. Inspired by Herman Bang’s novel of the same name, the film was able to capture nuanced explorations of love and desire by queer individuals when doing so was almost entirely unheard of for any type of media.

The impact of Mikaël came with more nuance of Americas own when it came to crafting their stories of LGBTQ+ characters - at least before the production code was enforced and creatives had to find other ways of expressing their sexuality on film. However, before all of that happened, many techniques of exploring subversive and socially unwelcome themes can be traced back to this film directly. Using coded language and subtlety enhances what American filmmakers were already doing in terms of queer cinema.

By the early 21st century, Mikaëls impact was extremely well known and respected around the world. Since its release, countless adaptations of Bang’s original work have been produced, though none are heard of being as good as the 1924 version, and its influence can be seen in numerous films and television productions today. By following in Different From The Others footsteps, this film challenged social norms and opened the world to a much broader and more diverse cinematic experience.

Notes and References:

Benshoff, Harry M., Griffin, Sean, Queer Images : A History of Gay and Lesbian Film in America, (Blue Ridge, Summit: Rowman & Littlefield Publishers, Incorporated, 2005)

Russo, Vito, The Celluloid Closet: Homosexuality in the Movies, (New York: HarperCollins Publishers; 1981), 22

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Manslaughter (1922)

Directed by Cecile B. DeMillie

Starring: Leatrice Joy, Thomas Meighan

Manslaughter is a wild tale of debauchery in the 1920s. Lydia is a reckless young woman whose poor decision making abilities wind her up in jail. This film holds an odd but relevant place in queer cinema history because it was the first to show an erotic same sex kiss and other scandalous thematic events.

Despite not being an overtly LGBTQ+ film, Manslaughter is incredibly interesting to look at within the context of queer filmmaking. Dealing with larger themes such as morality, social decadence, and redemption - gay or lesbian themes were largely subdued because of societal backlash to such topics. However, desire its controversial plot and scenes, Manslaughter was still a popular, mainstream film in 1922.

Before the Hays Code had been introduced, Manslaughter and other related films, particularly those of director Cecile B. DeMille, were known for their innuendo and exploration of gay characters through subtext and queer coded characters. This film is fascinating as it explores gender non-conformity and defying traditional gender roles through main character Lydia in the time where such topics were harshly critiqued for corrupting young women. Many of these situation included Lydia being scantily clad or engaging in unladylike behavior such as drinking, partying, and cheating on her husband. One of the most important scenes of the film is a dream, or rather nightmare, of Lydia’s husband Daniel, portraying his wife as doing all of the above and some in an ornate Roman style orgy.

The way Manslaughter navigates and explores these themes, while not explicitly, shows how the constraints of early 20th century society disallowed true freedom of expression in art of all formats. This films legacy lies in its ability to transcend many of the limitations of the silent film era and offers modern day viewers an opportunity to understand the progress that has been made since its initial release.

Notes and References:

Benshoff, Harry M., Griffin, Sean, Queer Images : A History of Gay and Lesbian Film in America, (Blue Ridge, Summit: Rowman & Littlefield Publishers, Incorporated, 2005)

Kozlovic, Anton Karl, "DeMille and Danger: Seven Heuristic Taxonomic Categories of His Hollywood (Mis)Adventures". European Journal of American Studies, vol 9, January 2, 2014.

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Salomé (1922)

Directed by Charles Bryant

Starring: Allá Nazimova, Arthur Jasmine, Earl Schenck.

An ode to Oscar Wilde, who conceived the original play, Salomé is a landmark production in LGBTQ+ representation. Rumored to have a predominately queer cast and gay themes cut form the final product - this film has lived in queer cinema infamy for over century.

The film Salomé, directed by Charles Bryant and starring rumored lesbian actress Allá Nazimova, holds an important place in LGBTQ+ history, both for its bold thematic elements and its production background. At a time when filmmaking was still young and society still extremely conservative when it came to sexuality and gender expression, Salomé was an exciting exploration of desire, power, and identity.

The original play that inspired the film, by Oscar Wilde, was subversive and played with the themes of desire and the dangers of lust. The films production, influenced by the Art Nouveau movement, presented a visual plethora of delights that diverts from realism for a dreamier, fantasy inspired representation. This departure from realism allowed Salomé to explore its themes in a way that defined moral and social normalities. This set a powerful precedent for queer filmmakers to use elaborate stylizations to discuss queer themes.

Salomé was notable for casting and behind-the-scenes advancements as it is rumored to have prioritized hiring gay, lesbian, and bisexual people to act in and help produce the film. The alleged reasoning behind this decision is an homage to Oscar Wilde, who was gay himself and open about it during a time where you could be jailed for it - as he was in the 1890s. This environment lent an air of aurhencity to Salomé that other queer films at the time did not seem to have themselves. Whether this is true or not, the film still holds a place in pioneering LGBTQ+ centered filmmaking.

Notes and References:

Hansen, Miriam, Babel and Babylon: Spectatorship in American Silent Film, (Cambridge: Harvard University Press, 1991)

Turnbull, Michael, "Salome" for Library of Congress, https://www.loc.gov/static/programs/national-film-preservation-board/documents/salome.pdf

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Different From the Others (1919)

Directed by Richard Oswald

Starring: Conrad Veidt, Rheinhold Schüznel, Magnus Hirschfekd.

Different From The Others is the first openly gay film to be made - ever. Its influence can still be felt in film today as it rallies against discriminatory laws against gay individuals and advocated for acceptance in society.

Only partially salvaged from time, Different From The Others’ legacy held a candle for all of those who came after it in history. Being made as a reaction to Paragraph 175, Germany’s law against homosexuality, this film is the first of its kind to ever be made. While not the first movie made by queer or LGBTQ+ artists, it is the first to have a positive portrayal of gay individuals in a motion picture. That, alongside explicitly gay characters and their romance as a main aspect for the plot.

Different made a strong impact in Germany upon its initial release. Causing outrage and sparking support, many of those critiquing the film were disgusted it was ever allowed to be released, despite coming out during a time when Paragraph 175 was not being enforced and LGBTQ+ films were released without legal action being taken against the filmmakers.

This film is included on this list about American silent film due to its influence and impact on the Hollywood film scene . Specifically, on LGBTQ+ filmmakers or actors who wanted to express themselves more freely in their chosen medium of film. When it comes to the films influenced by Different From the Others, Salome and The Pleasure Garden are two of the American films that spawned from Different. Even throughout the 20th century, films such as Victim lifted their plot from Different From The Others, songs were inspired by the film, as well as documentaries detailing the legacy the film left behind.

Notes and References:

Benshoff, Harry M., Griffin, Sean, Queer Images : A History of Gay and Lesbian Film in America, (Blue Ridge, Summit: Rowman & Littlefield Publishers, Incorporated, 2005)

 Malakaj, Ervin, "Richard Oswald, Magnus Hirschfeld, and the Possible Impossibility of Hygienic Melodrama", Studies in European Cinema vol 14 no 3 (2017), 216–230.

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A Woman (1915)

Directed by Charlie Chaplin

Starring: Charlie Chaplin

Charlie Chaplin’s slapstick comedy of errors and confusion led to one of the earliest portrayals of cross-dressing or “drag” on screen in American cinema.

While mostly remembered for its comedy these days, A Woman was an early foray into a common practice for many comedians of the silent film era - drag. Known at the time as “female impersonators”, men dress as and pretend to be women for comedic affect. As the third, and final, cross-dressing performance for Chaplin, it is also his most well known.

The attitude toward drag and cross-dressing back then was complicated. As someone, such as Charlie Chaplin, could dress up in women’s attire for a joke and there was not a lot of backlash. However, if someone who was male presenting and wearing women’s clothes in a more earnest manner - then it became a problem for people. It is thought the film was banned in Great Britain for this reason but the real reasoning behind the ban has never been made clear.

Throughout the United States the films contents were debated with the filmmaker himself. Often fighting over scenes to be cut or re-edited for different markets across the country. Though, the reasons for its censorship related to pickpocketing, undressed men, and a man grabbing a woman’s skirt off of her person but not for the cross-dressing. It would be later that the films use of cross-dressing was considered a problem by the general public. However, not a huge problem as The Tramp, the character created by Charlie Chaplin, is incredibly beloved even to this day.

Today, drag is a popular art and entertainment media that is enjoyed by millions of people across the world. People like Charlie Chaplin and vaudeville female impersonators are often forgotten for their introduction of the idea of cross dressing and comedy as entertainment to a larger audience. However, other artists and actors, who are actually queer, helped boost the popularity even further into the mainstream.

Notes and References:

Boyd, Nan Alamilla, Wide-Open Town: A History of Queer San Francisco to 1965, (San Francisco: University of California Press, 2003)

​Koszarski, Richard, An Evening's Entertainment : The Age of the Silent Feature Picture, 1915-1928, (New York City: Charles Scribner's Sons, 1990)

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A Florida Enchantment (1914)

Directed by Sidney Drew

Starring: Edith Storey, Sidney Drew.

A Florida Enchantment is about a young woman, Lilian, visiting her aunt with her fiancé. While in Florida she ends up changing her gender identity with a magic seed she gets from a curiosity shop. Angry with her fiancé, she ingests the seeds and turns herself into a man. Over the course of the film, other characters change their gender and comedic hijinks ensue. In a complicated, and often times confusing, plot the story is, if looked at simply, about the world from the perspective of the other sex. In a more dissected look at the film, many LGBTQ+ ideas are presented. Though mainly in a mocking, comedic tone.

Throughout the early 1910s, multiple films were released with gay, lesbian, or bisexual themes attached to their plot, even if it was unintentional or very subversive to contemporary views of sexuality at the time of its release. For the most part, these themes were met with praise for their lampooning of “sissys” and “queers” or with vitriol for promoting filth and immoral ways of life. This film was no exception to the latter.

A Florida Enchantment is a very controversial film both from the time of its release and now in the 21st century. Not only does it depict a woman transforming herself into a man to spite her fiancé, a controversial topic for the time of its release, but it depicts several characters in blackface, a controversial act nowadays. However, despite the storm surrounding this film, the impact it had on LGBTQ+ film in American society is great and cannot go unrecognized. Even if unintended, A Florida Enchantment depicts gender dysphoria or disillusionment nearly a century before films that deal with gender such as Boys Don’t Cry (1999) or Tangerine (2017) were released.

Notes and References:

Capó Jr., Julio, Welcome to Fairyland: Queer Miami before 1940, (Chapel Hill, North Carolina: University of North Carolina Press, 2017), 152–154.

 Hensfield, Maggie. "Queer Laughter in the Archives of Silent Film", The Oxford Handbook of Queer Cinema, (Oxford, England: Oxford University Press, 2021), 99–100.

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Algie, The Miner (1912)

Directed by Harry Schenck, Edward Warren and, Alice Guy-Blaché

Algie, The Miner is one of the earliest known and/or remaining films that depicts an effeminate male character. Though Algie is portrayed in a mocking manner rather than a positive one - the stereotypes presented indicate Algie as some sort of "queer" character.

About a recently engaged man, Algie, the film takes us on the journey he is on to prove his manliness to his fiancée's father within a year of the engagement. Algie accepts the challenge and is sent off to mine in the the American Southwest. There he is ridiculed for his "sissy" ways; trying to kiss two cowboys on their cheeks, frilly outfits, and fussy manner to name a few, and is introduced to a tough miner named "Big Jim". Under the guidance of Big Jim, Algie becomes the man he set out to become before the year is up and the deal with this betrotheds father expires. He marries the girl and all turns out well for Algie, all because he lost his so called "sissy" way of life and was no longer effeminate because of all the mining work he did.

There is a lot of unpack about this film, namely how it depicts the societal view of gay, queer, or even effeminate presenting men. Through the years, Algie has been heralded as an early representation of LGBTQ+ characters in film at an arms length due to its dealing with the subject matter. By having a negative representation of their community on the silver screen, LGBTQ+ people didn’t know how to feel as there had not been any characters in film like Algie before this film was released.

One of the only ways to look at this film is with gay conversion in mind. They send Algie off to become manly by association and “manly” hard labor. In the film this takes away his effeminate qualities and turns them into rugged, masculine ones. As we know now in modern society, conversion therapy does not work the way people used to think it did, and still continue to do so. I fear this film may have a slightly more sinister impact than that of a silly film - thinking of children who were sent off to hard, manual labor for being queer. It is a sad possibility to think about in relation to this film.

Notes and References:

"The New Hippodrome", The Morning Call , March 9, 1912, 9.

Lois Ferguson, et al. 2023. "Academic LGBTQ+ Terminology 1900-2021: Increasing Variety, Increasing Inclusivity." Journal of Homosexuality, 2023-09, Vol.70, 2514-2538.