Homebound Desires: Exploring Sexuality in Two 70s Movies- London and New York
“The Servant” (1963) and “The Boys in the Band” (1970) diverge significantly in terms of plot, themes, and genre. Yet, they share common ground in exploring interpersonal relationships and societal norms within urban environments — London and New York, respectively. “The Servant” subtly delves into power dynamics within a wealthy household, challenging traditional class structures and incorporating ambiguity in its storytelling and depiction of sexuality. In contrast, “The Boys in the Band” immerses viewers in the lives of a group of gay friends during a birthday party, challenging societal norms surrounding homosexuality in the 1970s. Both films navigate complex character relationships, unfolding within the confined setting of a house, and portray the prevailing norms of their eras, solidifying their status as thought-provoking cinematic works.
“The Servant” is a British drama film directed by Joseph Losey. The movie follows the interactions between Tony, and his servant, Barrett. Themes of class, manipulation, and psychological tension are central to the film. “The Servant” is known for its atmospheric and psychological storytelling, as well as its exploration of the intricacies of power within a domestic setting. While not explicitly focusing on homosexuality, “The Servant” subtly explores sexual themes, including ambiguous and enigmatic relationships between characters that blur the lines of master and servant. Some scenes suggest a homoerotic undercurrent, using notions of dominance, submission, and control as metaphors for social and sexual dynamics. Released in the early 1960s, when explicit depictions of homosexuality faced censorship, the film is part of a broader cinematic movement introducing nuanced portrayals of sexuality. It encourages viewers to interpret relationships and dynamics, sparking speculation and discussion about characters’ motivations and desires.
“The Servant” is based on Robin Maugham’s 1948 book, with Harold Pinter scripting the movie adaptation. The film benefits from Maugham’s exploration of homosexuality and British class portrayal, along with Pinter’s masterful use of ambiguity in the narrative.
“The Boys in the Band’’ is a 1970 American drama film directed by William Friedkin and based on the 1968 play of the same name by Mart Crowley. The movie is considered a landmark in LGBTQ+ cinema as one of the first mainstream films to portray gay characters and their lives.
The story is set in New York City and revolves around a group of gay friends who gather for a birthday party hosted by Michael, a sharp-tongued and somewhat self-loathing man. As the night progresses, the characters engage in witty banter, revealing their struggles, insecurities, and the complexities of their relationships. The arrival of an unexpected guest, Alan, a straight friend of Michael’s, adds tension to the gathering.
The film explores themes of self-acceptance, identity, and the challenges faced by gay men in a society that was less accepting of homosexuality at the time. The dialogue is sharp and candid, addressing issues such as internalised homophobia and the impact of societal attitudes on personal relationships.
These films serve as valuable lessons in creating nuanced narratives that explore the intricacies of the human experience. By anchoring their stories within the confines of a single location, these films’ creators skillfully elevate the intimate and private dimensions of their characters’ lives, impacting the cinematic landscape. As the legacy of ‘The Servant’ and ‘The Boys in the Band’ endures, they continue to captivate audiences, they serve not only as timeless masterpieces but also inspire future storytellers to explore the rich tapestry of emotions that can unfold within the walls of a home, turning it into a stage for profound storytelling and introspection.
