L'Escalier

Hollywood went slumming into the gay demimonde of London with the 1969 film "Staircase". The result was a fascinating mess becoming one of the worst films ever to come out of the latter part or the end of the 1960's. Producer-Director Stanley Donen(whose work includes working with stars like Audrey Hepburn and Cary Grant in "Charade"),had started out to make a small film about the human need for relationships in even the most desperate times. With the casting of Richard Burton and Rex Harrison as aging gay lovers,however,it turned into the kind of Hollywood tribute to "the little people" that inevitably comes off phony. There was too much talent involved in this film not display moments of insight,but as a whole the picture left audiences wondering just who was the intended audience for it. And furthermore,who would have thought that two of the greatest actors in the history of film cinema---Richard Burton("Cleopatra","Who's Afraid Of Virginia Woolf?", "Becket"),and Rex Harrison("The Ghost and Mrs. Muir","Cleopatra","My Fair Lady",and Doctor Doolittle")stoop to a piece of dung like this to even knowing that their careers would be jeopardize by this?

However,Stanley Donen must have felt the same way after seeing the original London production starring Paul Scofield and Patrick Magee. When "Staircase" came out in 1969,and with the decline in film censorship,Hollywood was opening up to films about the subject of homosexuality. Whereas previous literary properties with gay or lesbian characters had been avoided or "straightened out" by the big studios. By the late 60's,such prominent works as D.H. Lawrence's novella "The Fox",Carson McCullers' "Reflections In A Golden Eye",and John Herbert's play "Fortune and Men's Eyes",not to mention the stage version of "The Killing of Sister George" were all brought to the screen with a certain degree of faithfulness. In that spirit,20th Century-Fox agreed to take on the film version of "Staircase". The result was one of the biggest mistake Richard Burton and Rex Harrison ever did,resulting in becoming one of the worst films of the year,since "Staircase" came out in around Christmas of 1969. Along with it the bad reviews this movie received especially by some critics who blame director Stanley Donen for making Burton and Harrison exploitations of a sideshow attraction. To make things even worst getting stage veterans Cathleen Nesbitt and Beatrix Lehmann as the strong supporting mothers was probably the best part of the whole movies,since they actually stole the show. The rest of it was a bonafide mess. Check it the musical score composed by Dudley Moore-- yes,that Dudley Moore(from the "10" and "Arthur" movies).

This was a poor play,so naturally it made a poor movie.The casting was amiss. Harrison and Burton were two of the centuries finest actors, but, also two of the centuries most notorious womanizers, Harrison tries his best but manages only to give a few honest moments. Burton does not even accomplish that much. a total homosexual stereotype that would be more appropriate to a farce. Cathleen Nesbitt as Burton's mother gives the only honest portrayal in the film.But why blame the actors? It all boils down to the direction. a director is the controlling force of a film. if he could not evoke honest portrayals it rest on his head. ( AND THE AUTHOR.). a waste of talent in a poor production.

All this film does is insult the intelligence and lifestyle of adult gay men. The shock value of watching two famously heterosexual male actors primp and mince about as poofs is about all this mixed up mess has going for it. I don't recall (for some strange reason) much of the specific lines of dialog, but I do remember that much of that was just as bad as most of the acting and all of the direction. This film survives the years as a curio only. If the director wanted to make fun of gays, he should have made a film with Nazi punks beating up their fellow gay officers, or better yet killing them-or something.

BTW, the Burton character is not a hairdresser, he's actually a barber, cutting men's hair--not necessarily a gay profession. Sexy Rexy plays a down on his luck, never-was actor who helps his boyfriend around the shop. Talk about stereotypes--neither one dresses ladie's hair!

I can see why this might have been disappointing from a 1969 perspective, especially if it was the first relatively mainstream gay couple movie. They behave like an old embittered married couple, hardly promoting the concept of gay relationship harmony. If you're gay, you may have hoped for people with more obvious emotional strength and dignity, to start things off.

But from this end, nearly 40 years later, there's a great deal to admire. Most of us can see them as just people, yes, suffering the issues of the day in certain respects, but otherwise going through the same relationship struggles experienced by any two people who've been together for a very long time.

With only a few mild changes, this movie could be set today, because it's confronting the aging process, a somewhat unequal relationship, the problem of elderly parents—just plain real life stuff told with pathos and humor.

As to the swishiness of either character, say all you want about the womanizing ways of these two actors, they both swished and preened through many of their other previous roles as well. It was enhanced in this movie, but not unnaturally so. There's now enough water under the bridge for us to understand this isn't the Singular Gay Trait, but it certainly does exist, and it's not necessarily the evidence for self-loathing by these two characters. Anyone can have doubts about themselves, and most of us do, in one way or another.

It's not a great movie, because it moves in fits and spurts and there are moments that seem a little emotionally vacant. But it's a decent movie because the characters are believable and you do grow to care for and about them.

Burton and Harrison mince, preen, prance, and flounce about the screen in a horrendous display of bad acting. This movie would set gay rights back a century if it weren't so badly made and badly dated. One must wonder what made it a hit on Broadway at the time. The score is an especially abysmal atrocity by Dudley Moore. All those involved (especially Donen) should be ashamed.