Kurt Russell's Secret

We usually went to church on Sunday nights, but for some reason I was home one night in November 1968 to see the last half of the best movie ever made, The Secret of Boyne Castle, on the anthology series Wonderful World of Color.
This was former child star Kurt Russell's only movie as a Disney Adventure Boy (others included Peter McEnery, Tommy Kirk, Tim Considine, and Jeff East) before he moved on to playing oddball outsider Dexter Riley in a series of Disney comedies.

Here Kurt plays Rich, an American exchange student in Dublin who learns that his older brother Tom (bisexual muscleman Glenn Corbett, previously a model for Physique Pictorial and star of Route 66) is not a steel company executive after all, but a spy charged with delivering essential information to Boyne Castle, in the west of Ireland. When Tom is captured by Russian agents, Rich must take over the mission, racing through the quaint villages and lush green hills of Ireland, hoping to elude capture and reach Boyne Castle before the Russians. Fellow student Sean (long-faced, steely-eyed Patrick Dawson) tags along, throwing himself into deadly danger for no logical reason except that he rather likes Rich.

The two are presented as more intimate than mere buddies, framed in tight shots, their faces together in close ups. While they are sleeping on the heather, Rich hears a suspicious noise, and wakes Sean by moving his own body slightly. Although all we see are their faces and necks, to wake someone with such a small gesture means that they must be cuddling together. They rescue each other a dozen times, and are eventually rescued by big brother Tom.

But the most important scene, the scene I have remembered fondly for 40 years:

At an inn, Rich flirts with a waitress.

“You didn’t tell me you had an eye for the ladies!” Sean exclaims, as if he hadn’t anticipated any competition.

Rich responds by asking the waitress if she has any rooms to rent for “for a few hours.” Suspicious, she wants to know why the two boys would need a room for such a short period.

Rich and Sean exchange a knowing grin.

In 1968 I was entranced by that grin. I knew that it was a clue to the secret. If only I could decipher it, I could find my way to that other world, Oz or Living Island or Middle Earth, the world where boys could fall in love and got married.

How might we account for the not-so-subtle homoerotic bantr between the Rich and Sean? Certainly Glenn Corbett might be a gay ally: he began as a model for the Athletic Model Guild, the Advocate Men of its day, and made a career as a buddy-bonding “man’s man. Kurt Russell was never particularly gay-friendly.

Patrick Dawson works mostly in Irish radio, but his limited filmography includes the gay-vague Ginger in The Jigsaw Man (1983). We should look at the director, Robert Butler, who in the 1960’s specialized in dramas with strong male leads, such as Ben Casey, Dr. Kildare, and I Spy, and later directed such hunk-fests as Remington Steele, Moonlighting, and Lois and Clark. Whether he was working with Bruce Willis, Dean Cane, Pierce Brosnan, or Kurt Russell, Butler neither minimized nor hid their physicality, allowing and even directing them to be open as objects of desire, both to male viewers and to each other.

There are nude photos of Kurt Russell on Tales of West Hollywood

See also: Kurt Russell

Gilligan's Island

Gilligan's Island (1964-67), the tale of seven nitwits who set out from Honolulu for a “three hour tour” and end up stranded on a desert island is famous for its ineptness and naiveté, but actually it was no more inept or naive than most other 1960s escapist sitcoms, and it had a lot for gay kids to like.

1. Beefcake First mate Gillian (Bob Denver, below) was slim, smooth, and occasionally shirtless.

Lithe, hard bodied Denny Miller, a 1959 Tarzan (left), appeared twice, as a "jungle man" and as as a surfer who rode a wild wave all the way in from Honolulu.


 In February 1965, Kurt Russell appeared as a jungle boy, wearing only a loincloth (he counts as beefcake when you're five years old)

Even the Professor (Russell Johnson, whose son David was a fixture in West Hollywood) take off his shirt a couple of times.

2. Utter lack of heterosexual interest.

There was lots of heterosexism, of course.  When the Professor wonders why headhunters would abduct only the girls, Gilligan quips “Because they’re boys!”  When Mrs. Howell becomes the recipient of anonymous love letters, they interrogate all of the male castaways. They are innocent.  "But that's impossible!" she exclaims.  "That's everyone on the island!"  It never occurs to her for a moment that either Ginger or Mary Anne might be interested in her. 

The Skipper occasionally bats his eyes at Ginger or Mary Anne, but the other two single men, Gilligan and the Professor, never display the least interest in girls.  (Incidentally, Russell Johnson's son was very active in gay politics in Los Angeles.  Since his death from AIDS in 1994, the elder Johnson has devoted himself full-time to fundraising for AIDS research.)

3. Same-sex bonding.  When Gilligan and the Skipper fantasize about being rescued, they mention hamburgers and milkshakes, but never girls or “settling down.” Perhaps they've already settled down: they’ve been together since the War (probably the Korean War, over a decade ago), without even a perfunctory search for girlfriends or wives. 

Presumably Bob Denver, who had previously played "allergic to girls" on The Many Loves of Dobie Gillis,  played Gilligan as a man-child with “arrested development,” excused from demonstrating heterosexual desire because he hasn’t “discovered” girls yet,

But occasionally we see a hint of an alternative explanation:. In “High Man on Totem Pole” (February 1967), a new batch of headhunters captures the Professor, the Skipper, and Mr. Howell. The girls are disconsolate:

Ginger: All of the men are gone!

Gilligan: I’m still here!

Ginger: [Dryly.] I said, all of the men.

But what sort of man is not really a man?

 In the last original episode of the series, “Gilligan the Goddess” (April 1967), savage tribesmen visit the island in search of a “white goddess” to throw into a volcano. Gilligan pretends to be a girl, donning a wig and a sixties mod dress, so he will be selected (the plan is to go to the other island and call Hawaii for rescue).

 Blustering King Killiwani (Stanley Adams) demonstrates an interest in Gilligan even when he is male, ignoring the other castaways while forcing him to dance, but when Gilligan becomes “Gilliana,” he becmes downright grabby. Unwilling to reveal the truth and ruin the rescue plan, but also unwilling to let Killiwani commit date rape, the castaways try to distract him with food and entertainment.

Mrs. Howell: Anybody for passion fruit?

Gilligan: No passion fruit! I think I’ll have a banana. [He grabs one and peels it, then feeds a piece to Killiwani.]

Girls: And now for your pleasure we present the great magician, Thurston Howell the Third!

Gilligan: [Applauds.] He’s great. He knows a thousand tricks, and I want to see them all.

Killiwani: [Places hand on Gilligan’s knee.] You the only trick I interested in!

Gilligan rejects the passion fruit because he is skittish about getting passionate, of course, but his choice of a phallic symbol-banana instead suggests another dimension, especially when he feeds it to Killiwani. His gesture is natural, almost unconscious, and surprisingly intimate; he behaves as if he really in a romantic relationship. (We should note that he objects to the ruse because he doesn’t want to dress like a girl, not because he dislikes Killiwani’s attention.)

Maybe  same-sex desire was  not beyond all imagining, even in 1967.

Kurt Russell: Teen Idol Turned Man Mountain

Few actors make the difficult transition from child star to teen idol, and fewer still survive as adults in show biz.  Kurt Russell did it, but he lost something along the way.

Born in 1951, Kurt first became a star on The Travels of Jaimie McPherson (1963-64) , about a boy traveling through the Old West who bonds with a gruff wagon train operator (Charles Bronson).

Later in the 1960s, he became a familiar sight on tv, often playing oddball outsiders -- a jungle boy on Gilligan's Island (1965), an alien warrior who bonds with Will Robinson on Lost in Space (1966), an Indian boy who bonds with William Smith on Laredo (1966).  His physique became a familiar sight, too, as many gay preteens of the era could attest.

As a teenager, Kurt's impish smile and slightly confused expression made him unsuitable for Disney Adventure.  He made only one Adventure Boy movie, The Secret of Boyne Castle (1968) -- as American exchange student Rich who fights spies in rural Ireland, along with his boyfriend -- but unlike other Adventure Boys like James MacArthur and Peter McEnery, he never dropped a button.  He had many more shirtless, underwear, and semi-nude shots as a boy than as a teen.

After that, he concentrated in comedy, taking over the oddball genius roles left behind by the fired Tommy Kirk -- The Computer Wore Tennis Shoes (1969), The Barefoot Executive (1971), Now You See Him, Now You Don't (1972), The Strongest Man in the World (1975). With one major exception -- Tommy Kirk wasn't very good at displaying believable heterosexual interest, but Kurt's comedy characters were indefatigably girl-crazy.

As a young adult in the 1970s, Kurt moved into serious dramatic roles, playing Charles Whitman, the University of Texas sniper, in The Deadly Tower (1975), and Morgan Beaudine, who travels through the Old West bonding with his estranged brother Quentin (Tim Matheson) in The Quest (1976).

And from serious dramatic roles to gnarled, surly Snake Plissken, who negotiates Manhattan as a maximum security prison in Escape from New York (1981); R. J. Macready, who fights a monster escaping from the Antartic ice in The Thing (1982); Reno Hightower, who longs to regain his former football glory in The Best of Times (1986).

His list of memorable buddy-bonding roles is practically endless: Detective Cash, who gets naked in the shower with Sylvester Stallone's Tango in Tango and Cash (1989); firefighter Bull McCaffrey, who rescues his brother Brian (William Baldwin) in Backdraft (1991); Michael Zane, who tracks down his former partner during an Elvis convention in 3000 Miles to Graceland (2001).

But subtexts only work if the actors are utterly unaware of the homoerotic potential of their on-screen friendship, or are completely aware and ok with it.  The adult Kurt Russell is aware, but not ok with it; he uses homoerotic potential as a source of squeamish laughter or disquieting menace.

There are nude photos of Kurt Russell on Tales of West Hollywood.

Lost in Space

I don't remember the first season of Lost in Space (1965-68), when the family of colonists -- waylaid en route to Alpha Centauri was having realistic science fiction adventures.  I only remember the last two seasons, where they were mostly crashed on a studio backlot, wandering around in bright pink and lavender jumpsuits, and encountering:

A lonely boy from the other side of the looking-glass (played by Michael J. Pollard).
An intergalactic zookeeper who wants them as specimens
The contestants in a Miss Galaxy pageant
A giant talking carrot

It wasn't exactly Star Trek -- well, the Star Trek episode with the space hippies was almost as bad -- but it was fun. What kid in the 1960s didn't want to be lost in space with the Robinsons?

Whatever you were interested in, there was someone for you on Lost in Space. Kids liked Billy Mumy, a busy child star with previous roles on The Twilight Zone and Village of the Giants (and later on Bless the Beasts and Children). Not only because he was cute, and knew it, getting teen idol attention at the age of twelve -- but because his character, Will Robinson, was bright and resourceful, a respected crew member, never told "you're just a kid" or "wait here where it's safe."

And Dr. Smith (Jonathan Harris), an accidental stowaway who provided comic relief.  He was a big kid, an unrestrained id, gluttonous, lazy, cowardly,  incompetent -- and flamboyantly feminine.  The unabashed friendship between a young boy and an older man assumed to be gay was quite progressive in an era where gay men were often accused of being pedophiles.      

Adults liked John Robinson, the patriarch of the family (Guy Williams), who also didn't seem much interested in girls.  He had a wife, Maureen (June Lockhart), but they behaved like colleagues, with few moments of tenderness and none of intimacy.  Guy Williams had previously starred in several buddy-bonding projects, including Zorro (1957-59) and Damon and Pythias (1962).

Teens liked Don West (Mark Goddard), the resolute, non-nonsense pilot (previously seen in The Monkey's Uncle with Tommy Kirk).  Since the spaceship was crashed through most of the series, he didn't have a lot to do, and we didn't find out much about him except that he was dreamy, and not interested in girls. In early episodes, he had a romantic involvement with the older Robinson daughter, Judy (Marta Kristen), but soon it was dropped and forgotten about.

Unfortunately, the female crewmembers had even less to do than Don West.  Maureen was a respected biochemist, but she was relegated to cooking and saying "Be careful."  Judy helped her mother cook.  The youngest daughter, Penny (Angela Cartwright, previously of Make Room for Daddy), had a few adventures, mostly involving adopting weird alien animals.

There was a bit of buddy-bonding, as in the episode "The Challenge" (1966), when Kurt Russell guest stars as an alien warrior.  There was an occasional shot of a muscular alien.  But the main draw for gay kids was the boy adventurer and his flamboyant pal.

Tim Matheson

During the 1960s, Tim Matheson voiced some of my favorite cartoon adventurers -- Jonny Quest, Sinbad Jr., Jace on Space Ghost, Young Samson -- all with strong homoerotic friendships.

I didn't actually see him on screen until Yours, Mine, and Ours (1968), about a blended family with 18 kids.   He plays 18-year old Mike, a clean-cut footballer who expresses no interest in girls -- but takes his shirt off, revealing a magnificent physique.

You didn't see shirtless teenagers much in the 1960s.  I was stunned.  And hooked.

I saw him on tv a lot during the 1970s: not a lot of shirtless shots, but lots of intense, passionate same-sex relationships.  For instance, in The Quest, which lasted for only 15 episodes in the fall of 1976, Tim and Kurt Russell play brothers who didn't grow up together, and therefore treat each other more like lovers as they travel the Old West in search of their kidnapped sister.

In The Runaway Barge (1976), Tim and Bo Hopkins, workers on a barge on the Mississippi, struggle to keep it from crashing with a load of chlorine, and end up walking into the sunset together.

 Then something changed.  In Animal House  (1978), Otter (Tim) displayed a beautifully tanned chest in a toga.

Unfortunately, he formed no strong bonds with any of the other boys of Delta House.  Instead, he spent the movie sleeping with every woman in sight, including the Dean's wife.

I continued to go to Tim's movies for a few years.  He was displayed in his underwear or nude a lot, but sometimes beefcake is not enough.

He often played horny teen slackers with little time for same-sex romance.  In Up the Creek (1984), about an intercollegiate rafting race, his Bob has three buddies (Stephen Furst, Dan Monahan, Sandy Helberg), but doesn't buddy-bond with any of them.

Or else New Sensitive Men (like Ryan O'Neal), slim and handsome, but so busy bedding women that they didn't have a lot of time for same-sex romance.

 In A Little Sex (1982), for instance, Michael (Tim Matheson) has a long-term girlfriend plus the dreamy-eyed glances of every woman in town -- but his only male friend is his brother (Edward Herrman).

Or else Ordinary Guys and their wives and kids caught up in paranormal horror.  In Impulse (1984), an earthquake in a small town gives everyone poor impulse control.  Before long, they're fighting, stealing, and having indiscriminate heterosexual sex.

What changed?  The shift from television to movies?  From teen to adult? Or did the culture change, 1980s conservativism, mechanical bulls, "Real Men Don't Eat Quiche," making close same-sex friendships suspect?

I gave up in the mid-1980s.  Since then, Tim has been in over 60 movies  I've seen three.

The Computer Wore Tennis Shoes

A decade before Escape from New York transformed him into action hero beefcake, Kurt Russell played a hunky, fresh-faced teenager in eight Disney movies, from The Horse in the Gray Flannel Suit (1968) to The Strongest Man in the World (1975).  Only The Secret of Boyne Castle (1968) was an adventure, designed to demonstrate the masculinity of American youth during the Cold War.

The others were comedies with a far different goal, to mollify adult fears of hippies during the era of Woodstock and Kent State by presenting a harmless, good-natured youth rebellion (and one limited to white, middle class, hetero kids).

So there are plenty of muscular male actors, but no beefcake shots, and lots of buddies, but not a lot of gay subtexts.

The Computer Wore Tennis Shoes is the first of Kurt's three forays as Dexter Riley, a mild-mannered misfit vaguely studying science at Medfield College -- essentially the same role that Tommy Kirk played as "scrambled egghead" Merlin Jones a few years before.  Tommy, recently out and outed, was obviously miserable and struggling, and his co-stars hysterically overacted to keep him in line. Kurt and his costars are relaxed and confident, having fun with the goofy plot (something about Dexter being struck by lightning, turning into a human computer, and thus helping his friends win an all-important academic competition).

Dexter's friends are played by former teen idol John Provost (top photo); Frank Webb, who enjoyed a few years of teen idol stardom but died tragically at age 26 (center photo); and cute redheaded Michael McGreevey, who specialized in goofball characters.  There's also a girl, but she doesn't have much to do besides say "Be careful!"

Gay actor Caesar Romero played the mob boss who kidnaps Dexter so his friends can mount a daring rescue.