In 1934 a set of moral guidelines known as the Hays Code, that Hollywood films were required to follow was implemented and would remain in effect until 1968. The self-imposed rules prohibited profanity, suggestive nudity, graphic or realistic violence, sexual persuasions and rape amongst other things. With being unable to overtly include LGBTQ+ characters within films, queer representation had to be expressed more subtly, and whether purposefully or by coincidence horror films became full of gay subtext, with sexual tension and attraction being depicted with looks and gentle actions. This style persisted even after the Hays Code was lifted and until recently, outwardly queer representation was lacking.
Movies like Bride of Frankenstein, Cat People and Rope were all made in the 1940s and all overtly had gay themes and often gay actors playing the roles. Frankenstein was directed by James Whale, who himself was gay. In the 1963 film The Haunting, based on Shirley Jackson’s novel, The Haunting of Hill House, the character of Theo Crain is hinted at as being a lesbian, and in the original film adaptation, even more hints were laid, but in subsequent versions of the story these aspects have become more explicit as times have become more accepting to queer characters on film. In 1968, the Hays Code was replaced by the Motion Picture Association of America Film ratings system, which is still used today and allows people to make their own choice on what they deem morally acceptable or wish to see. Even with the lifting of the code, homophobia was still rampant through the 1980s and 1990s and the need to retain a certain amount of subtlety remained necessary until quite recently.
I will briefly examine a few of the 1980s horror films that are thought to contain queer subtext whether purposefully or coincidentally. This does not intend to be a complete list, but a smattering of films from some of my favorite horror films in the golden era of slasher flicks.
Terror Train (1980)
This movie has both overt and subtle gay themes. At a New Years Eve party, a practical joke on the shy and awkward virgin Kenny (Derek MacKinnon) goes too far and Kenny ends up being hospitalized by the mental trauma. Three years later, the same group of friends are hosting a New Years Eve costume party on an old passenger train that has no working radio. Soon people start being murdered. Alana (Jamie Lee Curtis) believes Kenny has returned and is taking his revenge for the prank. The movie is full of genderbending twists and turns, but even more than the killer having been drag, the relationship between Doc (Hart Bochner) and Alana’s boyfriend, Mo (Timothy Webber) always felt like it went deeper than just friends. My own opinion is that Doc is in love with Mo and does some of the awful things he does to Alana out of jealousy. He nearly says as much to Mo in a particular scene. Although I don’t think the two men ever got physical, there is a lot of sexual tension between them.
Fear No Evil (1981)
Teenage boy Andrew (Stefan Arngrim) discovers he is the son of Satan and must battle an old woman and a young female schoolmate who happen to be the mortal embodiment of the angels Mikhail and Gabrielle. Andrew’s sexuality is never fully explored, although he does seem attracted to Julie / Gabrielle (Kathleen Rowe McAllen) and she has visions of him seducing her. In one scene, high school bully, Tony (Daniel Eden) attempts to kiss Andrew while they are naked in the showers as a type of prank, but Andrew’s powers manifest leaving Tony shaken and scared. Andrew is not portrayed as a masculine character, but with a sense of outer “otherness” and with the movies costumes there is a definite sense of homoeroticism and queerness. This is a particularly favorite film of mine and I love watching it to this day. The production quality isn’t quite as polished as many of the more mainstream horror films, but I loved the story, the music and the performances.
Fright Night (1985)
When Jerry Dandridge (Chris Sarandon) moves in next door with his manservant (Jonathan Stark) under the pretense that they curate antiques together, seventeen-year-old Charley Brewster (William Ragsdale) begins to believe that Jerry is a vampire. Having been a fan of late-night Horror movies on a show hosted by Peter Vincent: Vampire Hunter (Roddy McDowel), Jerry enlists his friend Ed (Stephen Geoffreys), he Girlfriend Amy (Amanda Bearse) and Peter’s help to expose the vampire, but after Ed is turned by Jerry they share a poignant moment and acknowledge a connection due to their “outsider” status. Jerry also wants to turn Amy into a vampire as she resembles his long lost love.
Vampires in general seem to elicit an amount of bisexual homoeroticism and that is the case in this film. Besides the allusion that Jerry and Billy are gay lovers, the connection between Ed and Jerry is evident. Interesting facts, Amanda Bearse went on to be the first out lesbian on primetime television while on Married, With Children, and in the 1990s, Stephen Geoffreys starred in many gay porn films under the name Sam Ritter.
A Nightmare On Elm Street 2: Freddy’s Revenge (1985)
This maybe one of the most talked about films when speaking about gay subtext within the 1980s horror films. Five years after the events of the first film, Jesse (Mark Patton) moves in the home central to the first movie. Jesse immediately begins to have dreams and through him, Freddy Krueger begins his murderous rampage all over again. Jesse is interested in Lisa (Kim Myers) and becomes close friends with Ron Grady (Robert Rusler) whom he seems to connect with as well. Jesse, possessed by Krueger is found in a gay bar ordering a drink by his gym coach, Schneider (Marshall Bell) who punishes Jesse the next day. But Schneider is soon killed, and Jesse realizes it was the murderer but while possessed by Freddy. The possessions get stronger until a final confrontation between Freddy, Lisa and Jesse.
Mark Patton’s Jesse has been called the first Male Scream Queen. He was a closeted gay actor at the time the movie was made and struggled with its themes. Freddy’s possession of his character is a clear metaphor for queer desire and his attraction to Grady is palpable within the film. The movie was a flop and ruined Mark’s career, but later the film became a queer cult film with a documentary being released examining the queer themes within the film entitled Scream, Queen! My Nightmare on Elm Street
In recent years the inclusion of LGBTQ+ characters have grown in acceptance and the need for gay subtext, subtle hints and themes that lurk just under the surface have begun to disappear with more overt and explicit content. There is still something to be said about the artistry around delivering a message without slamming it over the audience’s head. I am pleased that we no longer must hide within films and that “out” actors can play characters true to themselves but there are times that the subtle carries more impact than the overt.