Gay subtext?


I just watched this movie for the fourth time last month and was really surprised by a scene that had passed before my eyes three times before but that I had never really caught on to until now. It's the scene that introduces us to the vampires' lair (which is a VERY well-done scene, by the way) and has Amilyn delivering some creepy line about sleeping through thunder or whatnot, and it struck me that every time I had watched this movie before, I had confused this particular scene with another one a little later where Cassandra finds herself inside that lair. So I had mistakenly assumed that Amilyn had been speaking to Cassandra. It wasn't until watching the scene the fourth time that I finally noticed that the hand Amilyn lifts from the coffin and kisses is black-gloved and is attached to an arm in a man's suit - and obviously belongs to Lothos.

Now, I realize that Lothos and Amilyn come from many centuries in the past, and furthermore that they almost certainly weren't American originally. I understand that if foreigners can have radically different social customs, then vampires' cultural differences must be more radical still. But I couldn't help wondering after finally catching on to that scene: are Lothos and Amilyn supposed to be lovers?

If you look at other scenes in the movie, this starts to look really plausible. Lothos and Amilyn spend much of their time in the lair alone, with their "converted" followers roaming the streets after dark. Amilyn has some stereotypically gay mannerisms that would have been acceptable to depict in the early 1990s, such as being petty and overly concerned about his clothing. In the scene where Lothos is scolding Amilyn about getting some of the "young ones" killed, the pair sound like a married couple bickering over their children. And on top of all that, Lothos appears to harbor a really disturbing (and again, stereotypical) sadomasochistic streak: when he sees Buffy stab Amilyn and leave him for dead, his only response is to smile and ask Buffy if she enjoyed it; it's pretty clear from his glee that HE'S the one who enjoyed it. So I think, if you read between the lines, it's possible to interpret Lothos as a murderous bisexual, and Amilyn as his sex slave.

And if this interpretation is true? Well, I'm not really bothered by it. If it IS true, it's rather surprising that the subtext somehow made it into a movie like this, especially in Hollywood's pre-PHILADELPHIA era. And if it was completely unintentional, well....that's a little hard to believe. Kind of paradoxical, that.

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Cool story, bro.

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Where to begin?

The idea that Philadelphia somehow marked the beginning of homosexual characters in movies is laughable. There was homosexual text (as opposed to "subtext") in movies going back to the silent era. Then the stricter enforcement of the Production Code starting in mid-1934 forced that to become subtext for such things as The Maltese Falcon and The Big Sleep, but it's clearly there. Or for a high profile example that is comparatively recent (but still long before Buffy or Philadelphia), look at Victor / Victoria for crying out loud.

The kissing of the gloved hand that set you off is an expression of fealty. It's a version of the gesture of kissing the ring of a pope, cardinal, or king. If nothing else, I would have thought that you would have noticed that as a very common gesture in historical dramas such as The Three Musketeers.

Amilyn's attitude toward Lothos was hero worship for a master (that more feudal terms seems more appropriate in general than anything like "boss" or "employer") that he views a nearly god-like. Lothos' lack of regard for servants such as Amilyn (to the point of cruelty) is an attitude that in history was common among certain royals and in fantasy literature is very common among much older and more powerful beings toward relatively young and weak underlings. That both push the playing of those things all the way over the top is inseparable from this being a comedy; that's what makes those scenes funny (if it's not over the top, the same things play as rather dark drama).

The silly bickering and the "overly concerned about clothing" (complaining about the jacket being ruined when he loses an arm) are jokes that are funny precisely because they are the absolute last thing that you would expect from a character in their position. That's why they're there. (It's the same kind of humor as giving a stereotypically "preppy airhead" name like Buffy to a world saving "Vampire Slayer". That was why just hearing the title with no other information tended to draw chuckles back when this movie was first coming out; it's a little like saying "Irving the Samurai"; it just doesn't fit in a way that makes it funny.)

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Vampires are super-gay.

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