331: Gay Biggles 1 - Monty Python

30 November 1972

Graham Chapman as Biggles
Michael Palin as Algy
Terry Gilliam as Ginger

Biggles is the archetypal English adventure hero, a proud icon of military glory to inspire the best in our Empire’s youth. In WI and then WII, Captain W.E. Johns’s fighter pilot showed the Boche, Hun and Jerry what for. The English are noble, the English are best, and wouldn’t give tuppence for all of the rest.
Here the Python team are spoofing an icon of their own childhood (and Michael Palin in particular was fond of committing various Biggles parodies). The nonsense about letters and antler hats, pantomime Princess Margaret, and foreign royalty borrowing household tools seems rather Palin/ Jones, though the sudden bursts of abuse seem more Cleese/Chapman territory :” Fairy! Poof's not good enough for Algy, is it. He's got to be a bleedin' fairy. Mincing old RAF queen!”.
But the joke here is about how the fine upstanding Biggles handles his modern concerns about the sexual orientations of his close comrades Algy and Ginger. And also subverting the signifiers of homosexuality at the same time. Algy’s portrayal is just as we remember from the books, but when he comes out of the closet, Biggles immediately does the decent thing and shoots him dead. Ginger (ginger beer rhymes with queer) is possibly one of the most screaming portrayals committed to screen at that date, in the most outrageous costume and the campest queeny denial.

323: Monty Python - Carl French

The Album of the Soundtrack of the Trailer of the Film of Monty Python and the Holy Grail
1975
Michael Palin as Interviewer
Graham Chapman as Carl French


0.00 – 2.41

Interviewer: Mr. French, you're one of the film world's most arrogant queens. I mean not just homosexual or Gay or anything, I mean you are a raving queen.
Carl French: Well, yes.
Interviewer: I mean, a real screamer, a real "Whoops! Get her! Don't mind me dear!" limp-wristed caricature.
Carl French: Is that not in order?
Interviewer: No, no, that's fine. And I understand that you married the beautiful black heiress Hueyna Tanoy partly for the publicity but mostly to cover up the fact that you prefer going out with Little Boys.
Carl French: Look, really!
Interviewer: Carl, you're an offending little poof, a mincing gay-bar loiterer, a winnet-covered walking perfume shop and an evil perverter of innocent little boys!
Carl French: What!? Really! Is this part of the interview?
Interviewer: No, no, I just wanted a few contacts.
Carl French: Well, shouldn't we be talking about the film?
Interviewer: We’ve been off the air for ages. Now, where'd you find them?
Carl French: Look, I think we are still on the air.
Interviewer: Oh, sod the fucking air! Can’t you still get locked up for that sort of thing.
Carl French: What about the film?
Interviewer: Just a few addresses, please...
Carl French: Look, we’ve got James Dean in it, in a box!
Interviewer: I-I can turn the microphone off if you...
Carl French: And bits of Jayne Mansfield...

------------------------------

Apparently the first half, the stuff about keeping a dead Marilyn Monroe in a box, originated in a sketch by Douglas Adams.
As per Monty Python, one bizarre concept leaps into another, switching from the weird film into the strange abuse. And abuse it intentionally is, not what one usually expects in the course of some film PR. Chapman’s performanceplays it as un-gay as possible, a perfectly stolid character, even as the interviewer moves beyond abuse, into baroque invective, and then realms of scandalous sexual criminality. Yet there’s also a freedom, since this sketch would probably not have passed on television or on cinema. As a LP sketch it can ascend to new heights of bad taste, and just let the abuse flow, matched by Palin’s escalating shrieking hysteria, as he skips in and out of mocking faggy voices. And then the final twist, which isn’t a million miles away from “Nudge Nudge”’s “What’s it like?”

If you were wondering, a “winnet” is the ball of unremoved specks of shit that dry onto the hairs around your sphincter. Share this information with your colleagues at work.

322: Monty Python - Tchaikovsky

"Monty Python's Flying Circus"
26 October 1972

Wow, this gets though a lot in an awfully short time. Pay no attention to the subtitles.

Besides all the usual sharp Pythonesque nonsense subverting high culture and parodying the media, this is inspired by contemporary revelations and innuendoes about a long dead composer. From a period when Ken Russell films were big stuff, his 1970 film “The Music Lovers” was not shy about Tchaikovsky’s homosexuality – although it has absolutely no relevance to John Cleese’s summary. And it allows for slightly salacious comments through the sketch, ie, “contains material that some people might find offensive but which is really smashing” and “the naughty bits, which were extremely naughty for his time”

So Eric Idle’s opening salvo, “Was he just an old poof who wrote tunes” undercuts all the traditional respect and typical dignity of the arts documentary format.

“Hello Pianist” is an obvious play off the camp salute “Hello sailor”.

Particularly unexpected is Michael Palin’s gossipy hairdresser Maurice (and compare his previous outing as a hairdresser climbing Mount Everest). The campness is out of all proportion to the normal documentary manner, although tangentially related to Tchaikovsky’s homosexuality. A gay hairdresser is an acknowledged cliché, and rather more than Graham Chapman’s David Unction, deliberately exaggerating the stereotype is part of the joke. So this is a Pythonesque poof since it is a comic collision between disparate styles. The actual performance is just a great gawping mouth, with lots of eye rolling and delicately held hands. The alliterative slang is a new one to me though (25/11/09 Turns out that it's a variant on Polari, camply referring to things like "Lily Law".)

276: Monty Python - camping it up

1965 was the breakout year for “camping it up” and “camping about”. Camp, as both an aesthetic and a particular word, had existed prior to 1965, but it was not a readily identifiable part of the public’s frame of reference. 1964 had seen the publication of Susan Sontag’s “Notes on Camp” which was gradually disseminated through all the trendier magazines, intellectual journals and upmarket rags. 1965 saw the appearance of several mass-market entertainments which allowed critics the opportunity to throw around their new-found familiarity with camp, at ease that the general public would know what they meant, and which also meant they didn’t have to use words which directly referenced homosexuality. In England, there was the success of “Julian and Sandy”, and, in America, there was the film of “The Loved One”. It’s worth noting that in all three cases, homosexuals are complicit in these products, are already part of the in-crowd offering camp to the heterosexual audience. Sontag was a lesbian. The two actors of Julian and Sandy, Kenneth Williams and Hugh Paddick were gay. “The Loved One”’s director Tony Richardson was bisexual, the co-writer was Christopher Isherwood, and half the cast (Gielgud, Liberace, Tab Hunter, Roddy McDowell) were gay, before you even figure in the main writer, Terry Southern’s fascination with homosexuals as a font of funny.

Anway, the point is that it is soon assumed that camp is gay and gay is camp. And that there is a certain sort of behaviour that sticks out like a sore thumb. Camp men are fashion designers, interior decorators, antique dealers, and vice versa indivisibly.

Monty Python takes a different path. Their use of camp mannerisms is always surprising. Monty Python’s camp men can be and do anything. Surprise is part of the comedy. Unusual variations, such as the camp judges. Eventually camp men in unexpected professions will also become a cliché, as Alan Coren will offer us camp policemen, camp undertakers, camp Biggles. But Monty Python usually does with without the innuendo which others make such a large part of camp comedy.


7 December 1969
Starts at 0.50


16 November 1972
Here you do get camp hairdressers, but performances as part of the larger comic contrast about Mount Everest. A bathetic drop into effete trivial fashionability after the sketch’s misleading opening pretence of rugged manliness. Admittedly as hairdressers, it’s not much more than saying “bitch” a lot



“Monty Python and the Holy Grail” 1975
Compare this eruption of campness in mediaeval times with Hugh Paddick’s turn in “Up the Chastity Belt”

241: Gay Actors 4: How to Irritate People

How to Irritate People (1968)
Written by John Cleese and Graham Chapman, with Marty Feldman and Tim Brooke-Taylor


starts at 2:00

Graham Chapman
Michael Palin

Here, to greater or lesser degrees, just before the arrival of the behemoth that is “Monty Python’s Flying Circus”, you get Graham Chapman and Michael Palin camping it up. Suits you? Suits me. Palin is blithely boyish, with a grin locked into his features. Chapman, yer actual homosexual, gives a bravura performance, over-the top and chewing the scenery, flouncy hands, with a pop-eyed and strained-face not dissimilar to Kenneth Williams or others of his ilk. Chapman starts off bouncily emphatic, then determinedly coy, with the punchline delivered as a sudden vertical ascent into a shriek of Annapurnan offense. In real life Chapman was fairly butch (pipe-smoking, mountain-climbing) and apparently didn’t have much time for snidey queens.
If only to show what the contemporary popular impression of theatrical homosexuality was that this parodies, here’s a lengthy quotation from Ken Tynan’s 1961 review of Kenneth Williams in “One Over the Eight”. Barely a month or so after this review, “Beyond the Fringe” opened, heralding a new sort of humour. Although “Beyond the Fringe” wasn’t averse to including comedy its homosexuals
http://ukjarry.blogspot.com/2007/11/11-beyond-fringe.html

As long ago as 1929 George Jean Nathan was complaining about the influence on the American theatre of the pixie mannerisms imported by English actors. 'What we need,' he said 'are (sic) more actors like Jack Dempsey, who tried the stage a little while ago. Jack may not be much at am actor, but his worst enemy certainly cannot accuse him of belonging too the court of Titania.'
Nathan took pains to define exactly what he was attacking: 'It isn't that the actors are biologically queer. It's that they possess or have acquired an air of effeminacy that, however hard or adroitly they try to conceal it, shows itself sooner or later during the course of a dramatic performance. . . .'
He was referring, of course, to the phenomenon we know as 'camp', In the province of comedy, with which I am presently concerned, its distinguishing feature is a marked inclination towards the dainty, the coy and the exuberantly fussy. The ability to camp (let us drop those misleadingly inverted commas) is a useful, even a vital, part of comic technique, but it is not the whole of it; and in recent years, I disrespectfully submit, we have had excess of it, our appetite has sickened, and English high comedy has very nearly died.
Consider One Over the Eight, which exemplifies the atrophy of latterday English revue.
The expressions most frequently seen on the faces of the cast are two in number. The men register: 'How naughty I am!'; and the women: 'How naughty you are!' The atmosphere of arrested adolescence is over-powering. The dance routines are at once inventive and dull; boys in tight trousers smile and spin, sometimes accompanied by spinning girls, who might smile more convincingly if their clothes were more attractive. The star, Kenneth Williams, has a matchless repertory of squirms, leers, ogles and severe, reproving glares, and must be accounted the petit-maitre of contemporary camp. As such, I salute him; but I wish there were more to English comedy than this.

14 - TeeVee and Sympathy 3: Monty Python

Written by John Cleese and Graham Chapman, “Monty Python’s Flying Circus”, 12 October, 1969

And the final twist from “Monty Python”: keep the format, but just replace it with a nonsensical concept. Of course, what was silly concept becomes reality with the development of “furries”. This is a wonderful encapsulation of the all the clichés of the format. Since Graham Chapman was gay, one can only speculate as to what grievances he was working out in this one.

4 - Queens of England

A compilation of queens from the early 70s:

Carry On Girls” (1973) Jimmy Logan as Cecil Gaybody

“Close order swanning about” from “Monty Python’s Flying Circus, episode #22, 24 November 1970

“Camp Judges” (Eric Idle and Michael Palin) from “Monty Python’s Flying Circus, episode 21, 17 November 1970

"Carry On Abroad" (1972)- Kenneth Williams, Charles Hawtrey and John Clive

“Clarence” (“Hello, Honky-tonk”) and “Hettie” characters played by Dick Emery

There is a minor fashion issue to raise: both "Clarence" and "Cecil Gaybody" are wearing godawfully ugly peaked hats. In "Doctor in Trouble" (1970), Graham Chapman plays a bitchy gay photographer who never appears with his peaked cap. Joe Orton wears his cap. Was "the hat" some sort of signal? A sub-military butch touch, which then goes horribly wrong, all floppy and purple? Or am I just being overly-attentive?