The Discerning Lesbian's Starter Guide to Classic Cinema (Part One)

From Maedchen in Uniform to Mrs Danvers - for beginners

French poster for 1931’s Madchen in Uniform (btw this is one of my favourite images of all time, just in general)

I find that a lot of people are interested in classic film in theory, or in memory - there might be a remembered fondness for films seen in childhood, or some curiosity about certain names and titles - but that they often struggle to find an accessible, relatable starting point for appreciating and understanding the pre-1970s film landscape. This was me about three years ago - and my magic starting point ended up being 1931’s Madchen in Uniform, a work which made me reconsider everything I thought I knew about the past, gay representation, women, and also gay representation and women in the past. It led me headfirst into the American Pre-Code period, introduced me to the next 40 years of German cinema, and assured me that there was a place for people like me in a field I had initially assumed to be irretrievably male.

Hopefully if you’re also a lesbian or a bisexual woman interested in learning more about cinema, this series of articles might help you find your own route that speaks to you. Film history is a very beautiful shining castle that constantly builds upon itself - the more you see, the more everything seems to come together as a whole. I’m using this idea to guide these recommendations: I’ll suggest a few films which relate to the overarching trends of (Western) cinema history and suggest some more films for further viewing which have themes, styles or personnel in common.

This is only Part One of my recommended beginner turret of lesbian-relevant films, and this week we’re doing the 1930s and 1940s. An exciting time, at least to start with! Many mainstream Hollywood films (and thus Hollywood actresses) are aimed at women, lots of actresses (the Sewing Circle) are secretly dating each other, and - up to 1934 - censorship is loose, leading to a Pre-(Hays)-Code era of risque onscreen behaviour. I recommend this documentary for those interested in Pre-Code Hollywood and its female characters. We also see some appearances of the lesbian vampire genre. Later on, although the rules tighten up, the ‘women’s picture’ starts to come into its own, with must-see consequences. I don’t think anyone would think of the 1940s as a decade of fantastic gay and lesbian representation, but stars like Joan Crawford, Lauren Bacall and Barbara Stanwyck make promising role models for unconventional women and their films are good viewing nonetheless.

Anyway, here are some films! Enjoy!

Maedchen in Uniform (1931) and German expressionism

What? The OG. A student at a Prussian boarding school falls in love with her teacher.

Who? Based on a book by butch lesbian Christa Winsloe, directed by possible lesbian Leontine Sagan, and starring Dorothea Wieck, the actress of whom I collect picture postcards. 

Why? It’s historically important, influential, and a fascinating insight into homosexuality in the latter days of Weimar Germany. Released only a year after the ‘talkies’ first hit Germany, and the resultant remnants of the silent Expressionist style are beautiful. It is very likely that you will fall in love with Dorothea Wieck, in which case welcome to her fan club. There are now three of us.

If you liked this, try… The same two actresses acting out a ‘sick woman/healer’ fantasy in Anna und Elisabeth. Also any of the many Maedchen remakes and spin-offs, which I’ll outline later in this series. You might recognise this film’s cartoonish stairs and exaggerated shadows from Disney animations - that’s because Walt Disney encouraged his employees to watch German Expressionist films. And you should too! Have a look at this list for more. I recommend Metropolis. 

Queen Christina (1933) and the Pre-Code

What? Welcome to the lawless Pre-Code! Follow Queen Christina of Sweden on her slightly raunchy travels. 

Who? Greta Garbo, actually-bisexual actress, in her most homoerotic movie role (and all her roles are at least slightly homoerotic, so that’s saying a lot).

Why? Greta Garbo kisses another woman full on the mouth, wears breeches, and declares that she will die a bachelor. There’s a heterosexual arc too but you can literally just ignore it. 

If you liked this, try… Ninotchka, a very funny comedy of manners starring Garbo as a deadpan Soviet agent - but if you liked all her sad brooding, try Grand Hotel or Mata Hari. Marlene Dietrich in The Scarlet Empress is a good choice if you want more ludicrous biopics of European queens (and if you love good set design), and it’s also worth checking out her subtext-heavy Dishonoured and Morocco (I didn’t think the latter was accessible enough for its own entry because actually it’s pretty exhausting, but it ranks high on the lesbian movie charts).

Dracula’s Daughter (1936) and early horror

What? Does what it says on the tin - a Universal Pictures outing about the daughter of Dracula. The daughter of Dracula happens to particularly enjoy the blood of women.

Who? Stars the love of my life, Gloria Holden. 

Why? For the atmospheric seduction scenes cloaked in shadow and fog (it’s set in London), and for a strong female role model.

If you liked this, try… some more German Expressionist horror. Nosferatu from Nosferatu is not as attractive as Gloria Holden, but he’ll do. You can also see Holden and her victim Nan Grey in 40s B-movie Girls School, which does not contain any lesbianism.

Dance, Girl, Dance (1940) and Dorothy Arzner 

What? Proto-feminist ‘women’s picture’ about a young dancer and her rivals.

Who? Directed by Dorothy Arzner, a lesbian. Also featuring a standout performance from Lucille Ball.

Why? Lesbian director (the only female director in Hollywood at the time), amazing final monologue from Maureen O’Hara, dance routines possibly choreographed by said lesbian director’s lesbian choreographer partner, Marion Morgan. 

If you liked this, try… Merrily We Go To Hell, Arzner’s other tour de force. (I was split on which to include, but I’ve written about Merrily before. There’s some subtext in it!). For more comedy and social drama for women, try George Cukor’s 1939 epic The Women, which only features women and their friends who are women. 

Rebecca (1940) and Hitchcock

What? Hitchcock has more to offer female viewers than you might think. A woman moves in with her new husband, only to find that his housekeeper is still obsessed with his last wife.

Who? It’s Hitchcock! Also Judith Anderson is fantastic as the housekeeper, Mrs Danvers. 

Why?  This director is the master of suspense and the psychosexual, and he’s also one of the best gateways to the cinema of his era at large - his best films are just as affecting and addictive now as they would have been at their release. Rebecca is a good introduction to his influential style and the perfect jumping-off-point to explore the rest of his work. It’s is a sensitive but terrifying portrayal of lesbianism and death and lesbian death. 

If you liked this, try… Suspicion because a butch-femme couple are onscreen for five seconds, Rear Window because it’s cute and creative and more ‘girl power’ than people give it credit for, Vertigo for its depiction of obsessive love. Also check out Mildred Pierce, just because everyone should. It’s also womanly and suspenseful.

Come back next week for more, and feel free to get in touch if you think I missed anything or if you’d like to discuss your own lesbian/bi experience with classic film for a future article!