Rating: /5
Cult Movie Challenge 2017 | 30/52 | Psychotronic Encyclopedia
In the making of this film, which deals with a strange and curious subject, no punches have been pulled—no easy way out has been taken. Many of the smaller parts are portrayed by persons who actually are, in real life, the characters they portray on the screen. This is a picture of stark realism—taking no sides—but giving you all the facts—All the facts—as they are today…. You are society—JUDGE YE NOT…..
A scientist sits in his lab reading a hefty tome. He closes it and addresses the audience. He speaks of humanity’s fear of the unknown and how much that startles them. It’s not new, but startling when it shakes their conventional understanding. The scientist pours liquids into vials, producing color changes and smoke. When satisfied, he sits down, seeing the bustling streets of people going somewhere. Then he hears a crying baby—the start of a new life.
Don’t worry. I’m not following either.
We then see Patricia’s body. Inspector Warren enters, along with a doctor. They find Patricia’s suicide note, which details her time in jail for cross-dressing. When not in women’s clothing, Patricia is Patrick. But she cannot bear to live as Patrick, so she takes her life dressed as Patricia. Warren visits with Dr. Alton to better understand cross-dressing and transgender people and hopefully prevent future suicides in the community. And so, Dr. Alton relays the story of Glen, who secretly dresses as Glenda.
George Weiss wanted to make an exploitation film based on Christine Jorgensen’s sex reassignment surgery, which became a major news headline. Ed Wood volunteered to tell the story, suggesting his cross-dressing made him the perfect director for the project.
Instead of telling Jorgensen’s story, Ed Wood made a movie about cross-dressing and transgender identities to appeal to understanding. Still, Wood fulfills the demand for a film about sex change by tacking on a second story, Alan or Anne, about an intersex person who undergoes surgery to become a woman.
Calling this film a successful argument is an overstatement. Though well-intentioned, Ed Wood’s inability to tell a story without layers of meta-text only obfuscates the message. Of course, the acting and dialogue also leave much to be desired. Most glaringly, the language used in the film is severely outdated and NOT helpful for contemporary audiences seeking to understand the subject matter.
Bela Lugosi’s presence here is sweeter than in his other performances. He has no real narrative purpose here, functioning primarily as a name to attract the audience.
The best part of the movie is the dream sequence. Yes, it has all the footage that the producers injected of whipping and sadomasochism. Still, it also has Glenda reckoning with her identity by meeting several trans people and fellow cross-dressers.
Still, Ed Wood’s moviemaking is so singular that, for all its failures and misgivings, it remains compelling, making it a perfect ‘good-bad’ movie.