In these enlightened times of Conservative Parliamentary democracy, and entry into Europe, you’d think peoples’ attitudes were changing. After all, you’ve only got to walk down the High Street on a Saturday morning to see some of those massive changes, like the communal knees up going on outside Boots. The “TV Times”, organ of the IBA reflects the blatant hypocrisy of our times admirably.
Under the title “Not just a pretty face,” it announced recently in large type that “more and more actors are taking parts that present them as pretty.” I pinch myself. No, I’m not reading “Jeffrey” or an early edition of “Films and Filming”. There on the facing page are photographs of David Essex, Murray Head, Brian Deacon and Bjorn Andresen (Death In Venice) looking provocatively sexual.
Interview one, and did you know, back-stage at “Godspell” you can’t tell the difference between the young men and women prancing around with make up on. “A young man hugged and kissed a woman with the words, “Mind my make up darling.” David Essex, as Jesus, accompanied by his much stressed wife, apparently giggling, thinks, “pretty boys are doing well, because young girls have loud voices and seem to be carrying all the weight at the moment.”
Well let’s face it, they are a big giggle aren’t they, these instant exposé interviews on the permissive society of theatre and films, where everyone pretends to be just that teeny weeny bit perverse, but where they’re really happily married. It’s all one big blue joke really.
A bit further down the page our hack feature writer gets to Murray Head, and the elegant prose gets still more disturbing. Head, we are told, lives chain smoking hand rolled cigarettes, with his wife, in a Chelsea flat that looks like a ‘set for Scheherezade’, just like the flat the character he played in Sunday Bloody Sunday lived in, in fact. Arrogantly, he informs our heroic interviewer that personally he doesn’t care if the public consider him to be bi-sexual. “But it may have prevented him from getting other parts. Directors have said they don’t want someone like that in their films.” Poor Murray, he goes on to say that he had to suppress so much of himself to play the part in Sunday Bloody Sunday, that after the strain he had to find himself again.
If I was John Schlesinger and I read that interview, I would plunge into something rather worse than a sea of despair. Surely the crux of Sunday Bloody Sunday lay in exposing the madness of preserving an outer crust of middle-class respectability, while leading a completely contrary private life. It set out to show as ridiculous the whole concept of attaching importance to appearance and reputation and success, that ultimately, it is our relationships with others, homosexua heterosexual or bisexual that bring real despair, or real happiness. Without questioning Murray Head’s aggressive heterosexuality, it seems very disappointing that working with one of the world’s greatest directors in a film that has done more to put peoples’ minds straight about their sexuality and nonsensical life-style, than almost any other book or film, none of the ideas in it even pierced Mr Head’s seemingly very thick skin. Perhaps that’s why he was chosen “from 2000” to play the character he did play.
In conclusion, did you know that Dirk Bogarde had “early problems because of his good looks,” and Tony Curtis “faced similar difficulties”.