Inside Hollywood’s first gay bar: Call Her Savage (1932)
This scene from Clara Bow’s 1932 comeback movie was the first of its kind (that is, the first Hollywood film to depict what is clearly a gay bar complete with same sex couples) and would be the last for the next 30 years until Otto Preminger’s 1962 Advise and Consent. In this scene heiress Nasa Springer (Bow) has asked Jay Randall (Anthony Jowitt) to show her around New York. Their detour to the above bar is fascinating both as a contemporary recreation and for the lack of snide remark or comment of any kind it elicits from Bow, her beau, director John Francis Dillon, or writers Edwin J Burke and Tiffany Thayer. Neither the bar nor its patrons require either ridicule or explanation, they simply exist. There are several rather seedy scenes in this movie but this is certainly not one. In that respect Call Her Savage stands in stark opposition to 1962′s Advise and Consent where the infamous gay bar scene is essentially a way of illustrating the corruption and general seaminess of certain characters, gay bar scenes thus functioning as a kind ‘eye into the underworld’ for several decades following. I should point out for the sake of fairness that Savage is quite an un-PC film by today’s standards. But it is revealing of Pre-Code era filmmaking that miscegenation is more taboo and elicits a greater need for censure and explanation than either homosexuality or female promiscuity.
Bow and Jowitt aside, all actors in these scenes are uncredited extras, including the very good dancing waiters.
Here is the color palette of The Graduate. In other words, “every frame in a movie compressed into a line, giving an idea of the colour palette used by the filmmakers.”
We’ve got an interview coming up this week with Dustin Hoffman. He’ll talk a bit about The Graduate, but not about its color palette. Which is why we thought it urgent and important to share with you here.
MOVIE BAR CODE is a Tumblr blog that distills movies into their color essence. By extracting each frame, compressing it into a single row of pixels and rearranging the rows side-by-side, the movie becomes a bar code-like abstract composition of its own.
Movie Bar Code is based on a simple but amazing concept - take every frame in a movie and compress it into a line. Then put them next to each other and you get a barcode of the movie. Movie Bar Code is brilliant because it gives an interesting perspective into the color palette used by different movies.
Terminator 2: Judgement Day (Beautiful and well balanced contrast between blue and orange)
The Lion King (All of Disney’s animated films use an amazing rainbow of color)
Star Wars Original Trilogy (notice the shift from light to dark, and the blue Hoth segment)