Queering Cinema: 'Gods and Monsters' is Still Compelling 25 Years Later

"I've spent much of life outrunning the past, and now it floods all over me."

As we quickly approach the spooky season and Halloween is just around the corner, many folks are seeking scary movies to satisfy their thirst for something frightening to get them in the festive mood. Today, we have a multitude of streaming options to provide this sort of entertainment from the comfort of our couch. But, back in the 1930s, terror tore through movie theaters in the form of 1931's "Frankenstein" and its 1935 spin-off, "Bride of Frankenstein." Viewed as pivotal moments in science fiction horror in its day, these Mary Shelley adaptations were thrust to life by openly gay director James Whale.

Whale's life and his last days on earth have been fictionalized in cinematic form through 1998's "Gods and Monsters," written and directed by Bill Condon and starring Sir Ian McKellen, Brendan Fraser, and Lynn Redgrave.

"Gods and Monsters" stars McKellen as James Whale, an out, retired director and former World War I patriot living the last days of his life in the 1950s. Hanna (Redgrave) is Whale's housemaid who cares for him after his health deteriorates. He befriends his gardener Clayton (Fraser) and convinces the handsome yard worker to pose for Whale as the latter sketches his chiseled physique. Though Clayton tries hard to explain to Whale that he is straight, the director regales his new friend with tales of sexual prowess and pool parties, which makes for a complicated relationship between the two men.

Deeply depressed after several suicide attempts throughout his life, Whale tries one more time to make a move on Clayton. Disgusted by this, Whale pleads with Clayton to kill him. The climax is a stunning conclusion to a famous director's life, somewhat fictionalized in "Gods and Monsters" based on the book "Father of Frankenstein" by Christopher Bram.

What makes "Gods and Monsters" so compelling is the performances from its stellar cast, the unique writing and directing style of Condon, and the utilization of real events to fictionalize aspects of a Hollywood icon's twilight years. Whale did, in fact, have nude men and some women pose for his paintings, and he did suffer from strokes in his later years. Keeping the story to Whale's relationship with his gardener makes for a unique and unconventional approach. Identity and loneliness become the film's central themes as it delves into sexuality as a form of isolation. Set against the backdrop of Hollywood's Golden Age and what it meant to be openly gay during this era, Whale's deep dive into depression is highlighted even more as his career is in the rearview mirror.

Above all else, LGBTQ+ representation is on a high level in "Gods and Monsters," starting from the top down. Condon is openly gay and won the Academy Award for Best Adapted Screenplay for this film before he adapted the script for 2002's "Chicago" and 2006's "Dreamgirls." McKellen has had an incredibly successful career on the stage and in franchise films, even though he has been out of the closet since his career began. Redgrave's character, Hanna, disagrees with Whale's homosexuality but cares for her employer and friend nonetheless. Both McKellen and Redgrave were nominated for Academy Awards for their performances.

The film was not a box office success and has become challenging to locate on streaming services over the years. However, the inclusive storytelling and humanization of gay icons are deeply explored in this movie, making the case for a cult classic that should remain in the conversation. Legendary figureheads and their counterparts are brought back to life through representation that didn't exist 70 years ago.

Even if James Whale's business was bringing Frankenstein and other monsters to life, his personal life struggles make for an intriguing gay horror story fit for the silver screen.

The 25th Anniversary screening of "Gods and Monsters" was unveiled on October 18 at NewFest in New York.