To get in a warm weather mood with summer not approaching fast enough, here is a look at Hollywood surf movies from a different and albeit biased perspective. Gay men are always looking for gay subtext in movies and TV, and I am no exception. Am I reading more into these films? Probably—but it was sure a lot of fun doing the research.
The Sixties beach movie craze began with Gidget (1959) starring Sandra Dee and James Darren, a fictionalized look at teenager Kathy Kohner’s surfing escapades in Malibu during the mid-Fifties. It was groundbreaking as the movie contributed to the mass dissention of surfers on the beaches of Malibu and started a series of surf-theme films such as Gidget Goes Hawaiian and Ride the Wild Surf. The surf movie soon morphed into the beach-party film, whose heyday was from 1963 through 1965, where surfing was only used as a backdrop to fanciful teenage beach adventures. Beach Party from AIP starring Frankie Avalon and Annette Funicello launched Muscle Beach Party, Bikini Beach, Pajama Party, Beach Blanket Bingo, How to Stuff a Wild Bikini, and The Ghost in the Invisible Bikini. Soon other studios were releasing their own Beach Party rivals such as Surf Party, The Girls on the Beach, and Beach Ball. Some of these films varied from the formula by shifting the locale to a lake (A Swingin’ Summer) or the ski slopes (Ski Party, Winter a-Go-Go, Wild Wild Winter). These movies for the most part followed a successful simple formula—start with attractive swimsuit clad teenagers twisting on the sand, add a dash of surfing (or ski) footage, mix in romantic misunderstandings, stir in popular musical performers, add aging comedians for comic relief, and whisk in villainous bikers or predatory adults.Â
Out of the surf and back in the closet: Tab Hunter was one of many male sex symbols who had to hide their sexuality during the beach movie era.
Gay subtext crept into a few of the beach-party movies giving these films camp appeal today. Discounting the obvious fact that these sand-and-surf epics were titillation for homosexual men of the time, as good looking shirtless movie hunks such as Jody McCrea, Fabian, Aron Kincaid, James Stacy, and Peter Brown frolic on the sand bare-chested in swim trunks and on the slopes in tight ski pants. Or that gay actors such as Tab Hunter, Tommy Kirk, and Paul Lynde appeared in these movies, there were other factors that probably were not obvious back in the Sixties. Either a director or screenwriter may have tried to slip in with a wink and a nudge to the homosexual community in an unassuming way that made it past the oblivious producers and censors.Â
The most obvious example is Muscle Beach Party (1964) featuring a clean-cut group of surfers versus a cult of bodybuilders headed by Don Rickles' Jack Fanny. During the Fifties and Sixties, the public automatically associated bodybuilding with homosexuality because muscle men of the time appeared as objects of desire wearing posing briefs or sometimes nothing at all in physique magazines whose readers were mostly gay men. Writing on the subject, film historian Joan Ormond commented, “Homosexuality in this era was regarded as potentially more damaging to society as the wild antics of surfers.â€Â Hence, the bodybuilders of Muscle Beach Party whom seem to enjoy the company of each other rather than any of the bikini girls on the shore are seen as the bad guys along the lines of Eric Von Zipper’s motorcycle gang of Beach Party as they are out to corrupt the youth of America.
Though handsome Fabian, Tab Hunter, and Peter Brown pursue beach babes
Shelley Fabares, Susan Hart, and Barbara Eden when not in the water in
Ride the Wild Surf (1964), there is a strong “homo-erotic undercurrentâ€
throughout. The scenes of these shirtless surfers bonding or
comforting each other while tackling the huge waves of Waimea Bay have
become gay porn staples. Supposed swinging bachelors Paul Lynde and
Woody Woodbury in For Those Who Think Young (1964) come off like two
bickering old queens rather than swinging playboys as they frolic on
the shore with the surfer crowd headed by James Darren and Pamela
Tiffin subbing for Frankie and Annette. They even sneak in a Paul
Lynde quip while he’s holding two large-sized hot dogs. Keeping with
the wiener symbolism, the scene of boyish surfer boy Mike Nader (later
“Dex Dexter†on TV’s Dynasty) inserting a frankfurter into the mouth of
real life surfer Johnny Fain in Beach Blanket Bingo (1965) while Donna
Loren sings about an unrequited love is certainly an eyebrow raiser.Â
How to Stuff a Wild Bikini (1965) went a step further with one of the
nameless surfers more interested in his books than girls resulting in
raised eyebrows and innuendo from the other surfers whenever he makes a
comment. Of course, these All-American boys shun him (he is always
seen off by himself) because this bookworm obviously rather ride them
than his surfboard. And finally in The Ghost in the Invisible Bikini
(1966) while Deborah Wally sleeps alone in a double-size bed, Tommy
Kirk willingly shares his with Aron Kincaid.
Muscle Beach Party: Peter Lupus and Amedee Chabot
Winter a-Go-Go
(1965), a beach party in the snow, has the obligatory scantily clad ski
babes and their horny tight pants wearing boyfriends, which you'd
expect to find in this type of film. But what makes the movie
especially interesting and an undiscovered camp classic is that it
arguably introduces the first major ambiguous gay character to appear
in a beach-party type movie. The role of Roger that screenwriter Bob
Kanter created for himself is the asexual best friend of socialite
Janine (Jill Donohue). Though he travels with her and her friend Dori
(Judy Parker) there is no evidence of any current or past romance with
either gal. During the course of the film Janine sets her sights on
Danny (James Stacy) and Jeff (William Wellman, Jr.) but winds up
reuniting with tough guy Burt (Anthony Hayes). Dori makes goo-goo eyes
at Frankie (Tom Nardini) throughout the film. Poor Roger—if he is not
running to Jeff and Danny for protection from the bullying Burt he just
sits there drinking his Cokes making catty comments about the
proceedings.Â
Of course, you couldn’t have a beach movie
without putting some of the actors in women’s clothes. Scenes of guys
dressed in drag dominated three movies. In The Girls on the Beach
(1965), Martin West, Aron Kincaid, and Steve Rogers make glamorous
college girls complete with lip-gloss, false eyelashes, and mascara as
they don some coeds’ frocks to sneak out of a sorority house. In Beach
Ball (1965) Kincaid was back to wearing a dress (though he was not as
fabulous looking as in his prior movie) along with Edd Byrnes, Don
Edmonds and Robert Logan as they try to avoid the police at a music
fair. And best of all Ski Party (1965), a sort of Some Like It Hot for
the teenage crowd, had Frankie Avalon and Dwayne Hickman disguise
themselves as British lasses “Jane†and “Noraâ€, respectively, to
infiltrate the opposite sex to learn what women are looking for in a
man. In the process, suave Aron Kincaid as ladies man Freddie falls
for Hickman’s female persona. At first Hickman finds it annoying but
when his girlfriend (Yvonne Craig) keeps giving him grief, he decides
to turn back into “Nora†and go out with Freddie because he knows “how
to treat a girl.â€Â I bet he does.