The queer-coding of this classic screwball comedy | Little White Lies

Queer Cinema

The queer-cod­ing of this clas­sic screw­ball comedy

14 Jun 2020

Words by James Palmer

Black-and-white image showing three people - two men and a woman - in formal attire, standing in what appears to be a formal setting.
Black-and-white image showing three people - two men and a woman - in formal attire, standing in what appears to be a formal setting.
Themes of bisex­u­al­i­ty and polygamy are sub­tly veiled in 1940’s My Favorite Wife.

Dis­cus­sion of LGBT+ themes was denied in Gold­en Age Hol­ly­wood, thanks in no small part to the con­straints of the Hays Code. The rules enforced by the Code result­ed in such strong cen­sor­ship that even the sug­ges­tion of a same-sex rela­tion­ship could result in a film being banned globally.

Con­se­quent­ly, film­mak­ers eager to explore these themes had to get cre­ative. Per­haps no genre was more suc­cess­ful at sub­vert­ing the rigid con­ven­tions of the time than the screw­ball com­e­dy. Known for fast talk­ing and far­ci­cal sit­u­a­tions, this par­tic­u­lar style of com­e­dy was par­tic­u­lar­ly adept at hid­ing con­no­ta­tions in quips and the bizarre predica­ments the char­ac­ters invari­ably found them­selves in. Released in 1940, My Favorite Wife is like any oth­er screw­ball on the sur­face, its themes of bisex­u­al­i­ty and polygamy sub­tly veiled.

As new­ly-wed Nick Arden, Cary Grant finds him­self entan­gled a typ­i­cal het­ero-love tri­an­gle when his first wife – pre­vi­ous­ly pre­sumed dead after dis­ap­pear­ing on an island sev­en years pri­or – returns home on the day of his sec­ond mar­riage. In the first half of the film he jug­gles pleas­ing both Ellen (Irene Dunne) and Bian­ca (Gail Patrick),until it is revealed that Ellen wasn’t miss­ing after all. She found the com­pa­ny of Stephen Bur­kett (Ran­dolph Scott), a rugged and well-kept man who on first impres­sion seems a per­fect fit to play the love rival. Thanks to Grant and Scott’s per­son­al rela­tion­ship, how­ev­er, the queer-cod­ing of these char­ac­ters is giv­en real-life context.

From 1932 to 1944, Grant and Scott lived togeth­er, shar­ing a San­ta Mon­i­ca beach house and Los Ange­les man­sion. Depict­ed as sup­posed bach­e­lors, they had a pho­to shoot to com­mem­o­rate their lifestyle of work­ing out, swim­ming and social­is­ing (semi-nude) togeth­er. Although it has nev­er been con­firmed, Grant’s same-sex rela­tion­ship with Scott appeared to coin­cide with two failed mar­riages, which would rise to five in Grant’s lat­er years.

Two men, shirtless, sitting on boat deck in black and white image.

When Nick first sees Stephen, he is stand­ing in trunks atop a div­ing board wav­ing emphat­i­cal­ly to Ellen. The ini­tial glances between the men may seem to con­vey envy, but there is a pal­pa­ble sex­u­al ener­gy between all three as Stephen joins the table to sit between them.

Hints of bisex­u­al­i­ty and homo­sex­u­al­i­ty were not per­va­sive in 1940s Hol­ly­wood, often buried in the sub­text and assigned to stereo­typ­i­cal vil­lains. The antag­o­nist of John Huston’s The Mal­tese Fal­con, for exam­ple, has his homo­sex­u­al­i­ty min­imised (in the nov­el it’s much less ambigu­ous). On the oth­er hand, Scott’s Stephen is a prime exam­ple of the macho Hol­ly­wood idol. If any­thing it is Nick who is the more effem­i­nate of the pair, as he spends much of the film pac­ing back and forth in a leop­ard print gown.

The ten­sion between Nick, Stephen, Bian­ca and Ellen is shared even­ly and the love tri­an­gle effec­tive­ly becomes a square after Stephen’s intro­duc­tion. If it wasn’t for the era’s strict cen­sor­ship rules, My Favorite Wife might have end­ed with Grant and Scott run­ning off together.

But the pos­si­bil­i­ty of a polyg­a­mous rela­tion­ship between all four char­ac­ters is still present dur­ing the final scene, where they attend court after Nick is charged with bigamy. Despite their con­trast­ing per­son­al­i­ties, none of them stand to gain from deny­ing or sup­press­ing their impuls­es. So it’s a real shame when the judge’s ver­dict forces a more tra­di­tion­al roman­tic outcome.

Screw­balls became known as sex come­dies with­out the sex”, as the Amer­i­can film crit­ic Andrew Sar­ris put it; sex­u­al ten­sion is not out in the open but instead con­cealed in the shar­ing of a cig­a­rette or the exchang­ing of sug­ges­tive glances. My Favorite Wife is pro­grammed to repeat this for­mat, nev­er fol­low­ing up on the hid­den desire between Grant and Scott. Viewed today, how­ev­er, this clas­sic screw­ball com­e­dy seems gen­uine­ly sub­ver­sive, going against the grain of het­ero­nor­ma­tive Hol­ly­wood by queer-cod­ing its male leads.

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