Tallulah Who, You Ask?
By Dr. Bill Lipsky–
Leave this article immediately. Surrender your ruby slippers and put your Ken doll back in the closet. One of the greatest and most famous actors of her time, Tallulah Bankhead (1902–1968) also was the most scandalous. She was outrageous, outspoken, and gloriously uninhibited. Laurence Olivier claimed that she “had more glamour than almost anybody alive.” Among Gaydom’s Magnificent Seven, she surely ranks second only to Bette Davis, who ranks second only to Judy Garland. Judy, of course, ranks second to no one.
There was only one Tallulah, astonishingly open about her behavior and herself when celebrities tried desperately to hide their truth. Described as “Humphrey Bogart in silk panties” and the “most thoroughgoing libertine and free-swinging flapper of the age,” she claimed having more than 500 affairs during her life. She was very much aware of her reputation, too, once admitting, “I’m as pure as the driven slush
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If you like movies, especially old movies, you are going to
love the March 19 Friday Night Dialogue on Zoom with John DiLeo.
John DiLeo began his lifelong obsession with classic movies as a child while watching old films with his parents and grandparents. Ask DiLeo to define what he means by “classic,” he’ll say, “It’s a tag for an era, the classic movie era, spanning the 1930’s, ‘40’s, ‘50’s and ‘60’s.”
He divides movies made back then into two categories: serious classics like “Citizen Kane” and “Vertigo,” and popular classics like “The Wizard of Oz,” “It’s a Wonderful Life,” “Gone with the Wind,” and “Singin’ in the Rain.”
Tony Bravo March 13, 2021
A crowd exits a movie at the Castro Theatre in San Francisco in 2016. Photo: Scott Strazzante, The Chronicle 2016
I was 14 years old when I fell in love with the Castro Theatre. This was also the age I had my first boy-boy crush, but while puppy love was fleeting, my relationship with the Castro deepened with time.
My first film there was Orson Welles’ recut of “A Touch of Evil.” I marveled at the Churrigueresque auditorium designed by Timothy Pflueger, and the Art Deco furniture in the balcony lobby ruined me for cookie-cutter multiplexes.
At that age, I was still learning my Nouvelle Vague from my Neorealism, but I felt like a cinephile just walking through the doors. I went crazy for the audience, too: They hissed and clacked during the previews for kitschy melodramas and sang when the organist played “San Francisco.” They were primarily, but not exclusively, queer people with a mix of hardcore cinephiles across the spectrum. In
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