MYRA BRECKINRIDGE (1970)

Title: MYRA BRECKINRIDGE

Year of Release: 1970

Director: Michael Sarne

Genre: Comedy, Satire

Synopsis: A young man, Myron Breckinridge, undergoes a sex change operation and becomes Myra Breckinridge, but discovers his life is even more complicated as a woman than as a man.

Within a film history context: Movies revolving around transgender protagonists were not a common occurrence on cinema screens before MYRA BRECKINRIDGE's arrival in 1970, mainly due to the breakdown of censorship in the late 1960s, allowing for more freedom in cinematic content. Films about either men, or women dressing as the opposite sex for various reasons, without a transgender theme, were more regular. One of the first movie actors to dress in drag was silent screen, vaudeville and Broadway actor Julian Eltinge. He played in a number of comedies during the 1910s and 1920s, with less appearances after 1925. Mr Eltinge's movies took advantage of his versatility in playing both sexes, this leading to many rumours about his sexuality, which was indeterminate. During the silent era, two adaptations of the British stage play CHARLEY'S AUNT, filmed respectively in 1915 and 1925, were shown to audiences. The story of a Lord who is convinced by his friend Charley to dress as his aunt, with many comic repercussions, was also given cinematic treatment multiple times in the sound era. Later movies similarly exploited the fluidity of gender in films, with mainly comical results.

Reinhold Schunel's VICTOR AND VICTORIA (1933) featured a young female chanteuse taking over her male friend's female nightclub act, masquerading as a man, but she is believed to be a man, which causes romantic issues for her with a male admirer. Another excellent example was SYLVIA SCARLETT (1935), directed by George Cukor, starring Katharine Hepburn. In this movie, Miss Hepburn was a scheming woman who dressed as a man to elude the police. One of many Hepburn-Cukor collaborations, it was one of least financially successful of their films together. Howard Hawks' I WAS A MALE WAR BRIDE (1949) had Cary Grant dressing as a woman in order to board a navy ship. It was a box-office success for the studio, and offered Mr Grant one of his funniest roles. More exploitative in intent was GLEN OR GLENDA (1953), directed by Edward D. Wood Jr. Being the immediate predecessor to MYRA BRECKINRIDGE in terms of its sex change theme, it was about a transvestite, and a pseudohermaphrodite, as recounted by a psychiatrist. Notable for its theme and appearance of veteran horror actor Bela Lugosi, it pushed the boundaries of screen taste in the 1950s. One of the most famous of the cross-dressing movies again was a comedy, this time being Billy Wilder's SOME LIKE IT HOT (1959). With Tony Curtis and Jack Lemmon as two musicians dressing as women to escape from the mob, it played around with gender and romance in an irresistible, highly comical manner. One of the best films of its type for its all-round good humour and excellent cast, it is still seen fondly sixty years after its initial release. MYRA BRECKINRIDGE was the first film which explicitly featured a transsexual protagonist, this aided by the relaxation of censorship which allowed for more freer depictions of certain themes. This was ground-breaking at the time of its release, and one of the reasons why MYRA BRECKINRIDGE has a footnote in film history.

Apart from GLEN OR GLENDA, MYRA BRECKINRIDGE was the watershed for clearly depicting the concept of transsexuality in film, and not beating around the bush about it. Aided by its X rating in 1970, it was the most plain-speaking film up until that time on the topic. Talk about sex and related ideas was out in the open in this film much more than previous movies. Its language and situations were much more explicit than entries such as SOME LIKE IT HOT, moving beneath the surface in quite a confronting manner. This no holds barred approach was evident in other areas of MYRA BRECKINRIDGE as well. While the other films mainly presented heterosexual characters, either men or women, dressing as the opposite sex, they were largely centered around romance and its attendant misunderstandings. There were some latent/inexplicable same sex attractions which implied that either the best men were women at heart, likewise with the best women being men. In MYRA BRECKINRIDGE all of these were thrown out the window, as the protagonist's sex change was documented in detail, leaving no doubt that he was a man who became a woman. There was no backwards and forwards in this respect, as the lead character does have issues with his sexuality, which are more than a simple case of wearing women's clothing, and discarding it for specific reasons. These differentiated MYRA BRECKINRIDGE from prior entries in the genre.

Aside from its thoroughgoing transsexual theme, MYRA BRECKINRIDGE was also of interest for another reason. With the ability to showcase more daring, if salacious stories at the end of the late 1960s, and early 1970s, Twentieth Century Fox released several films which pushed the boundaries of cinematic acceptability. Starting with Mark Robson's VALLEY OF THE DOLLS in 1967, films of a more sexual nature appeared on screens. JOANNA (1968), directed by Michael Sarne was also in this category, and, most notably, Russ Meyer's BEYOND THE VALLEY OF THE DOLLS (1970). A humorous, high camp take on the studio's own VALLEY OF THE DOLLS, it was a flashier, coarser affair with violence and nudity that the original film did not have. While a moneymaker for the studio, it was considered a low point in Fox's history. Urged by the losses incurred by other Fox movies at the time, and the success of Mr Meyer's non-Fox productions, their sentiments did not proving of a lasting nature. Another Russ Meyer film, THE SEVEN MINUTES (1971) was not as successful as it did not have the exploitative elements which made BEYOND THE VALLEY OF THE DOLLS, and his other independent efforts, so successful. MYRA BRECKINRIDGE was positioned among this series of films, and was memorable not only for its financial loss and the sheer poor taste of much of it but also, as a major studio's attempt to take on risky, lowbrow ventures, which did nothing for its reputation, or balance sheet, at the time.

Overview: Michael Sarne is a prolific actor who has several directorial credits to his name. The first of his four feature films, JOANNA (1968), was in the style of many Swinging Sixties movies, with a young woman involved in the London set of the late 1960s. Next was INTIMIDADE (1975) a little-seen romance movie which Mr Sarne co-directed with Perry Salles. His final feature film was THE PUNK (1993). In contrast to his other movies, this film was about a young street kid who falls in love, but has problems with the law. A combination of family drama with Romeo and Juliet elements, it was the most realistic and grounded of his movies. MYRA BRECKINRIDGE, his second film, was his most famous picture, but, unfortunately, not for the best reasons.

The exploration of a transgender character could have been handled in a much more restrained manner, with moments of introspection and reflection, but, on the whole, this is missing from MYRA BRECKINRIDGE. While it appears to be a story that would have been exceedingly difficult to adapt from its source novel, possibly it would have been better that it was never made into a movie. Alas, though, it was produced into one, and, this provides the starting point for this analysis. Watching the film, it is obvious that it was not intended in any way to be a serious examination of sexual identity; it revels in throwing into the audience's face the lead character's choice to change his sex, using every unsubtle visual, and aural cue, to make the point of this. While satire is often a difficult genre to write and produce for the screen, the results of which many times can be incongruous, MYRA BRECKINRIDGE falls into this category. The film needed serious writing fixes that never, lamentably, took place, to rein in the wayward content, and bring it some semblance of continuity. As a suggestion, it may have been much better if it took either of the following two paths.

If the film was a more subtle exploration of transsexuality, toning down the overt sexuality, and providing insight into the protagonist's mind, and the consequences of his decision, it would have been a revealing, and possibly enlightening experience for the viewer. As it is, one never finds out exactly why Myron wanted to become Myra, as it is just a convoluted series of events that lack emotional power. What does not assist its cause is the use of clips from classic Hollywood films. While amusing at first, these become ineffective in the film, but the clips themselves are not to blame. They are from some of the silver screen's greatest movies, but here are used to 'punch home' plot points in MYRA BRECKINRIDGE. They are a reminder that many past films used to be way better than MYRA BRECKINRIDGE itself, as the saying goes 'they don't make them that way anymore.' By trying to equate classic movies with MYRA BRECKINRIDGE, implying that it is a classic of its own, the film actually shows how much more classy those film were compared to it. The film, though, could have been composed of in another way that may have give it more of a chance.

As the film itself is of a irrational nature, it would have been conceivable that it could have been part of the 'Carry On' series of movies. As the director himself was British, it would have been a sensible choice to utilize the writers and some of the cast of the movies. It would have streamlined the production, adding much more humour, and tightening the film both onscreen, and with its costs. MYRA BRECKINRIDGE would have been a more rollicking experience, with the sexual entendre and innuendo given more bawdy style. While these are just a two proposals to improve the movie, one can only access what they witness onscreen, but there are some small compensations to watching MYRA BRECKINRIDGE.

The cast is largely commended for performing to the level that they do with the overall quality of the material. The director provided a great showcase for Mae West, and the musical numbers, especially the second one, these being excellently handled. The production values themselves are of a very high standard, something which would have been highly regarded in the classic Hollywood era. Mr Sarne showed a flair for the dramatic, and style which one wishes had been displayed in a better way. One is left with the overriding sentiment that MYRA BRECKINRIDGE was a film that tried to be different and irreverent, but, failed in its quest with its lack of story consistency, and many lapses in taste rendering it a failure.

Acting: Despite the lack of quality in the writing, MYRA BRECKINRIDGE contains performances without which it would have been an even lesser experience. In the lead role of Myra Breckinridge, Raquel Welch holds the film together in the face of an avalanche of nonsensical and tasteless moments. Playing someone who is a woman on the outside, but is in actuality a man would not have been an easy experience, but Miss Welch does well, keeping her cool and dignity despite dialogue which is, at times, overly wordy and unnecessary. Rex Reed, as Myron Breckinridge, has dark good looks and appears well on camera, but one never gets to know the character as intensely as Miss Welch's. His scenes are always played for the humour or sex card, but a more psychological insight to the character would have been of benefit. On the other hand, John Huston, unfortunately, overplays his role in the film. Usually his larger-than-life personality is effective in other movies, but here it seems to be too much. If it was toned down slightly it could have worked, but it just stands out here for the wrong reasons. It is a reminder of the elements in the film which could have been de-emphasized. There are, though, four other performances in MYRA BRECKINRIDGE which should be mentioned.

Mae West, as talent agent Leticia Van Allen, is in one of her best roles, vamping it up as only she knew best. As with the other films she appeared, the dialogue here works in her favour, allowing her to indulge in delicious, scintillating one-liners with that self-satisfied smile she sports so effortlessly. Miss West's musical numbers are also a delight, her characteristic posturing, purring and pauses the mark of the true star she was. Nelson Sardelli is charming in a cameo role as Mario, an Italian man after Leticia's heart. He fills the screen with a joy and passion that is infectious. As Mary Ann, Farrah Fawcett is a sympathetic figure in the movie. An actress of sparkling personality who knew how to charm audiences with her relaxed manner, Miss Fawcett shines as the innocent, but perceptive Mary Ann. The final contribution of note was that of Roger Herren as Rusty, the male object of desire in MYRA BRECKINRIDGE. A handsome actor for whom this film unfortunately was his most featured part, he delivers a great performance, despite the controversial scene in which he participated. It would have been interesting to have seen Mr Herren in further roles as he had a laid-back persona that could have worked well in films with either a romantic, or cowboy themes.

Soundtrack: With the exception of the opening few minutes, Mae West's first moments in the talent agency and several other instances, there is not much background music in MYRA BRECKINRIDGE, excepting the clips from other films inserted at various times. The best sequences of diegetic music both belong to Miss West in her stage performance extravaganzas. 

Mise-en-scene: The high budget for MYRA BRECKINRIDGE is evident in the movie, the production values one of its best features. No expense has been spared on the sets and backgrounds, which are easy on the eyes, oozing luxury, especially the bedrooms, and other sets, of Miss Welch and Miss West. No expense has also been spared for the lavish musical production numbers which spotlight Miss West, with the attendees dressed and coiffed to the nines. The lensing by Richard Moore is also first-rate, with everything, and everyone, appearing beautifully in front of the camera, a testament to him. Costuming and maquillage take advantage of the attractiveness of the cast, with appropriate use of garments, especially Edith Head's florid creations for Mae West.

Award-worthy performances in my opinion: Raquel Welch, Mae West, Roger Herren, Farrah Fawcett, Nelson Sardelli.

Suitability for young viewers: No. Frequent coarse language, male nudity, female nudity, adult themes.

Overall Grade: D

Link: IMDB Page

Trailer