The Judy Garland Triptych Necessary For Healthy Gay Development, And Growth!!!!!!!!!!!!!!!!!!!!

                          I was just saying to my beloved, David, the other day, how many times do we stay in, and watch the Saturday night movie, on Channel 13?  It seems like, if lucky, three or four times a year, so when I discovered, late last week, they were going to air the Garland classic "A Star Is Born"--the one and only, as far as I am concerned, and released in my birth year, 1954--I knew we would end up watching it.  I had not seen it in years--last time probably on a screen at a revival house--but the whole thing still packs a wallop.

                           Now, let me explain about the triptych.  If these images were framed together as a photographic triptych, it would go like this--'Oz' to the left, 'Star' in center, and 'St. Louis' on the far right.  It is almost a framework of Garland's career--her two greatest MGM movies bracketing the most famous film she made for Warner Bros. And in two of these films, she played a character, named Esther!!!!!!!!!!!

                            For parents of a burgeoning gay child, and to all burgeoning gay children, I maintain that these films, even in this millennial age, are required--even more so--viewing for healthy gay development.  As long as they are seen at the right stages, which goes something like this.

                            If you are feeling out of touch with the familial fabric into which you have been placed, it is key "The Wizard Of Oz" is seen at an early age, say in the lower (4,5,6) single digits.  If you are aroused by any of it emotionally, if the need to escape from what is around you is instilled by an initial viewing, you are well on your way to becoming a member of the gay community.

                              "Meet Me In St. Louis," however, should not be seen until the age of 10, and before hitting puberty.  It darker childhood sensibilities are now capable of being handled by juveniles, who will develop, from this film, an appreciation for color composition and visual detail.  And the duo drama fest--Garland's heartrending performance of "Have Yourself A Merry Little Christmas," followed by Margaret O'Brien's award winning hysterics, as she goes out into the yard to symbolically show how her own family is being destroyed by smashing the snow men--should have you sobbing copiously.  And how about when Harry Davenport, as Grandpa, dances Garland behind the Christmas tree, and she emerges, with Tom Drake in her arms????????  Oh, my God, I am tearing up, right now!  Art, color, tears and romance--the perfect gay intro to one just on the cusp of puberty!!!!!!!!!!!!!

                               Now, once puberty hits, there stands one last film to see!!!!!!!!!!!!

While, sadly, this was the last truly grand, Garlandesque film she made, it was a stunner.  This was to Judy Garland what "Funny Girl" is to Barbra Streisand, because, in telling the story of Esther's Blodgett's transition to Vicki Lester, it is, in essence, telling Garland's story of her emergence as a star--from the vaudeville circuit to MGM.  

And the film has a number of key gay developments, all of which are important to notice.

The first is Garland's opening number, "Gotta Have Me Go With You," which, if one is a burgeoning gay, will make said individual want to stand up and do the number, along with watching it on TV.  This was the case with me, the first time I saw it, around the age of 12.  Of course, I wanted to be in the center, like Garland-- who wouldn't????--and backed up by cute chorus boys--with whom one has a bite, after the show--this is enough to get any emergent gay's fantasies going.  And the younger, the better!!!!!!!!!!!

The Glamorization Scene-- Where Norman makes up Esther to look as natural to herself as possible.  This is key gay fantasy--self acceptance, and a transformation into beauty.  It also symbolizes the escape emergence of the gay from the suburbia he longs to escape into the big, citified, sophisticated life he wants to have!  At this point, there is no turning back.  This scene makes it clear, for the young gay, that this is who he is, and to go forward!  I can tell you, I did, darlings!

And how I still want to wear that pink gown she is in!!!!!!!!!!!

"Born In A Trunk"/"Swanee"--This is the musical number of a gay man's dreams.  Being princess of a plantation, dancing up a storm, in a vehicle guaranteed to make anyone a star!  But how that young gay youth seeing this for the first time wants to do that number.  You  know I do!!!!!!!!  In fact--

"I'd give the world, if I could only be,

Sittin' on my Mammy's knee!"

This is what puts Vicky over the top in the film, and hardly a gay man out there does not react to this sequence in the same way.  Which you won't get from "La La Land."

The whole thing--"Black Bottom," "As time went on, I looked for jobs..." is like a montage of Garland's professional emergence.  It is fused with her story, the way "Funny Girl" fuses Fanny Brice's with Barbra Streisand.

Oh, my God, I want to get up, and dance "Swanee" now!!!!!!!!!!!!!!!!

As if all this were not enough, the film has something extra--James Mason, giving one of the best performances by an adult actor seen on film.  Not only was I touched and moved by him throughout, and I was devastated, as Esther was, by his death, I recognized at once I had the hots for him!!!!!!!!!

I have admired James Mason in every film I have seen him here, but his Norman Maine is almost his signature role, and I am sure I was not the only emerging queen to swoon for him!!!!!!!!!!  Who wouldn't be charmed by the urbane sophistication, cultural air, and sexiness Mason projects?  I am telling you, if you are hot for either Jack Carson or Charles Bickford, you've got problems!  Tommy (Tom) Noonan may be kinda cute, but he pales beside Mason.

To think Marlon Brando took the Oscar for his Strasberg antics in "On The Waterfront?"  He should have won when he used them to better effect in "A Streetcar Named Desire!!!!!!!!!!  And Grace Kelly?  I love her, but the only reason she beat out Garland--inexcusable!!!!!!--was for the two  Hitchcock films she made that year--"Dial M For Murder," and her truly greatest one, "Rear Window!!!!!!!!!!"  Otherwise, Garland would have had it!!!!!!!!!!!!

How about the dressing room scene, where she breaks down, trying to deal with her husband;'s addiction, while still loving him?  It's not bad enough she looks like Liza here, but it represents, for gays, the price each pays for their freedom and individuality.  That price varies from person to person, but I can tell you, I have paid mine.  I will not share that here...yet.  But you know me, dolls, sooner or later, I let it out!!!!!!!!!!!

So that is the Garland triptych.  Essential for healthy gay growth and development.  It will do for you what Wheaties supposedly does for straight men!!!!!!!!!!!!

But stay away from Lucky Charms!  You can flame brightly, darlings, but don't be an acetylene torch!!!!!!!!!!!!!!

Oops!!!!!!!!!  I forget to add--

"I love the old folks,

    I love the young folks,

I love my honey lamb, and everyone in Alabammy!!!!!!!!!!!!!!

Mammy! Mammy!  My dear ol' Mammy!!!!!

Your wandrin' chile' will wander no more,

When I get to that Swanee shore!!!!!!!!!!"