While they often presented themselves as bodybuilders’ publications, their chuckle-prompting titles — Torso, Adonis, Honcho, Mandate — didn’t lie. Gay men’s magazines of decades past were bought by gay men who wanted to look at the erotic illustrations of well- built male bodies therein. Because any- one known to possess such material in the homophobic 1950s and 1960s could experience serious consequences, men hid the magazines under their mat- tresses. These illustrations have now inspired a traveling exhibition, Stroke: From Under the Mattress to the Museum Wall. Curated by notable erotic artist Robert W. Richards and orig- inating at the Leslie-Lohman Museum of Gay and Lesbian Art, the popular show contains 24 original illustrations that ap- peared in gay magazines from the 1950s to the 1990s. It also looks at how gay men, forced into the closet during those decades, used these pictures to explore their sexuality intimately. It additionally serves as a showcase for the artists in- volved. On view are works by two dozen top artists of the times, including Touko Laaksonen (Tom of Finland), Antonio Lopez (Antonio), and David Martin.More
This year, Disney announced plans to revive the magical, majestical, supercali- fragilistical title character of Mary Poppins. We can’t find too much fault with the choice of Emily Blunt in the starring role, and we are pleased that this won’t be a “reimagining” of P.L. Travers’ original tale. (Travers wrote many more adventures for her English governess, so there’s plenty of material to draw upon.) Still, even if the composers are Hairspray’s Marc Shaiman and Scott Wittman, and they have elicited the support of at least half of the Sherman Brothers who wrote “Supercalifragilisticexpialidocious” and “Chim Chim Cher-ee,” we have a difficult time imagining a movie that can compete in our child brain with the five-time Oscar winner. Granted, Dick Van Dyke’s cockney accent left a lot to be desired, and maybe the movie does take its own sweet time getting started — to say nothing of those interminable penguins — but we’ve done some internal editing, leaving nothing but a sweet aftertaste that, during this month’s “Wine Down with a Movie,” might be accompanied by free tipples of Domaine Chan- don.More
Nothing caps off a nice day at the beach like a mouthful of sand — especially if the grit in your teeth is the reward for the grit required to splay flat-out on your stomach, for the prize of a plastic disc in your hand, and all the glory that comes along with it.
Recent American films about families, like Rachel Getting Married, all too often pierce eardrums with shrieks of dysfunction. Amid the din, French filmmaker Claire Denis' sublime 35 Shots of Rum stands out all the more for its soothing quiet, conveying the easy, frequently nonverbal intimacy between a widowed father, Lionel (Alex Descas), and his university-student daughter, Josephine (Mati Diop). An homage to Yasujiro Ozu's similarly themed Late Spring (1949), 35 Shots is Denis' warmest, most radiant work, honoring a family of twoï¿½s extreme closeness while suggesting its potential for suffocation. 35 Shots is firmly rooted in place, several scenes unfolding in an apartment building in a rundown section of Paris' 18th arrondissement, home to Lionel and Josephine; Gabrielle (Nicole Dogue), an ex of Lionel's who still aches for him; and Noe (Gregoire Colin), nursing a crush on Josephine. Dyads align, shift, break, and regroup among the foursome, jealousy simmering in the film's already-famous scene at a cafe, during which Noe cuts in on a sweetly dancing Lionel and Josephine as the Commodores' "Night Shift" plays. Nonsexual filial devotion is immediately supplanted by heat and desire. Father and daughter's comfortable life together will need to end--an inevitability that even Lionel recognizes as necessary, no matter how painful. It's a point that no one needs to shout to make.
Tue., March 9, 7:15 & 9:25 p.m.; Wed., March 10, 2, 7:15 & 9:25 p.m., 2010