Many a movie has been adapted from beloved written works about women loving women and fascinating bisexual or lesbian characters. Although with a few exceptions, it hasn’t been until recently that cinematic scribes have been able to remain faithful to the source writer’s original intent. Thanks in large part to the Hayes Code and shortly after, the Catholic Church-backed National Legion of Decency, screenwriters were forbidden to write characters the audience could readily interpret as identifiable homosexuals. It was one thing for a screenwriter to work around these immoral objections, but it was an even greater challenge when adapting characters and stories that were already familiar to the public.

The Haunting (1963)

Directed by Robert Wise

Adapted by Nelson Gidding from the novel The Haunting of Hill House by Shirley Jackson

(Screening Wednesday, January 21st, 7pm at The Plaza Theatre)

A group of paranormal researchers gather to research the validity of whether a giant, crumbling mansion is perhaps the most haunted place on Earth. The character of Theodora or “Theo” played by darkly beautiful Claire Bloom was written to have no discernable sexual preference but arguably may have an attraction to the other female researcher Nell, played by Julie Harris in the film. Surprisingly, Director Robert Wise (West Side Story, The Sound of Music) doesn’t seem to shy away from Theo’s bisexuality and neither does Bloom’s interpretation of the character, although in Gidding’s screenplay there is no overt mention of it.

The Color Purple (1985)

Directed by Steven Spielberg

Adapted by Menno Meyjes from the novel by Alice Walker

(Screening Wednesday, February 25th, 7pm at The Plaza Theatre)

Alice Walker was never afraid to admit she was not happy with the idea of a wealthy, Jewish, white male taking on the film translation of her Pulitzer Prize winning story about the hardships faced by African-American women in the deep south over the early years of the 20th century. Indeed, the film’s release garnered as many negative reviews as accolades primarily for Speilberg’s grandiose style of cinematic storytelling and the manipulative score by Quincy Jones channeling John Williams.

However gay groups were most upset about the complete watering down of the relationship between Celie (Whoopi Goldberg) and her husband’s mistress Shug Avery (Margaret Avery). In fact, anyone watching the film that is unfamiliar with Walker’s novel might be a bit confused by the only scene that addresses the true nature of Celie and Shug’s relationship: when a female bonding moment ends with an awkward, lingering kiss with no inkling of lesbian desires prior to, or following that scene.

The Children’s Hour (1961)

Directed by William Wyler

Adapted by John Michael Hayes (although credited as by Lillian Hellman from her play of the same name, but Hellman later declared she has nothing to do with it.)

For anyone who has seen MILK recently, you’ll know that gay and lesbian educators are always easy targets for homophobia. In The Children’s Hour, Shirley “Give my Daughter the Shot!” MacLaine and Audrey Hepburn play childhood friends and headmistresses of an all-girls private school. They face the evil childhood wraith of one of their students spreading malicious lesbian rumours about the headmistresses, causing a disastrous and tragic backlash. The original 1936 adaptation was titled “These Three” and thanks to the Hayes Code, there was not to be even a mention that the film was based on Hellman’s play. The film’s director William Wyler was quoted as saying, “Miss Hellman’s play has yet to be filmed”. So, almost 30 years later, Wyler attempted to make the film that he intended with lesbian content in tact. It’s hard to believe, watching this version, that Wyler got his wishes. Lesbianism is portrayed as wicked and something to be histrionically guilty of, and in the end, Hepburn’s character marries a man and MacLaine’s character hangs herself!

Tipping the Velvet (2002)

Directed by Geoffrey Sax

Adapted by Andrew Davies from the novel by Sarah Waters

A reason to rejoice as here is a faithful adaptation of a seriously sexy and enthralling lesbian romance that has captivated audiences since its initial release as a mini-series by the BBC. Novelist Waters has made a living writing gothic lesbian romances set during 19th century England, usually involving one humdinger of a dramatic twist or two. However it was Tipping The Velvet that has always held a special place in millions of readers’ hearts and it was apparent that the filmmakers were very conscious that they needed to get it right. The less you know about the plot, the more pleasantly surprised you will be, but let’s just say it tells the love story between a male impersonator named Kitty (Keeley Hawes) and her starstruck admirer Nan (Rachael Stirling). The story is solid, and the sex is scorching, a feat in itself considering the bleak, cold and wet backdrop of 1890s London. If you haven’t read Waters, do yourself a favor and pick up a copy of one of her novels this weekend. There are currently two other films adapted from her novels , Affinity (2008) and Fingersmith (2005).