Film / In & Out

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"We had a gay teacher! We must face up to that, and move on with our lives."

A 1997 film directed by Frank Oz, which deals with homosexuality with some degree of fairness, despite occasionally leaning back on stereotypes for its characters — all done knowingly, and all with tongue firmly planted in cheek, as the movie is, at its heart, a satire where many elements are exaggerated for comedic effect.

Howard Brackett (Kevin Kline), a high school English teacher in the "BIG small town" of Greenleaf, Indiana, is preparing for his marriage to his fiancée of three years, Emily Montgomery (Joan Cusack), while the whole town is abuzz with the news that hometown boy turned Hollywood megastar Cameron Drake (Matt Dillon) is nominated to win Best Actor at the Academy Awards for his performance in a war film as a gay soldier. Accordingly, the whole town is watching as Drake wins the Oscar and dedicates his award to Howard — outing him as gay in the process.

Within hours, Howard is beset by camera crews and reporters eager to get their slice of the story — including Peter Molloy (Tom Selleck), a reporter for an entertainment gossip show. Howard insists that he's not gay and that Cameron was mistaken. However, the openly gay Molloy isn't convinced, and settles in to cover the days leading up to Howard's wedding because he suspects denial. Thus Howard finds himself under tremendous pressure from Emily, his parents, and the school's principal (Bob Newhart) to assert his heterosexuality, but when even he starts questioning himself, he has to face the truth...

Has nothing to do with the superlative West-coast burger joint. Or the Garrison Keillor song about the cat who wants to go in and out and in and out and in and out and...


This film provides examples of:

  • Affectionate Parody: Of conservative, small-town life and also of attitudes towards gay people at the time (and, to a lesser extent, Hollywood). The film easily could have transformed Howard's friends, family, and students into bigoted Jerkasses after Cameron outed him, but they are portrayed as more confused about the issue than anything.
  • All the Good Men Are Gay: When Howard realizes that he really is gay and calls off the wedding, his fiancee is devastated and goes to a bar (in her wedding dress, no less) to drink away her sorrows. She hits on Tom Selleck's character, who truthfully tells her that he is gay. Cut to her running out into the parking lot, falling to her knees, and screaming, "Is everybody gay?!"
  • Armor-Piercing Question: Cameron Drake at the graduation ceremony slowly breaking away at the faculty's reason for firing Howard and the claim he "resigned."
  • Berserk Button:
    Aldo: Yentl sucks.
    Crowd: Oooh!
    Howard: What did you say?
    Aldo: Yentl. It sucks. It's boring.
    Howard: ...say that again.
    Aldo: She was too old for Yentl!
    [cue bar brawl]
  • The Big Damn Kiss: Between Peter and Howard, initiated by Peter. It lasts a good 10 seconds.
    Howard: You kissed me!
    Peter: You noticed.
  • Brainless Beauty: Cameron's vapid supermodel girlfriend, Sonya.
  • The Cameo: Whoopi Goldberg and Glenn Close as themselves in the Academy Awards scene; the former is interviewed by Peter Malloy on the red carpet about Cameron Drake, while the latter presents the award for Best Actor during the ceremony.
  • Camp Gay: Averted. Howard's gayness is played up just enough that it's obvious to the audience, but lets it still be understandable that no-one in-story noticed it.
  • Cast Full of Gay: Not actually, but poor, twice-rejected Emily thinks she's trapped in one. "Is EVERYBODY gay? Is this The Twilight Zone?"
  • Cleaning Up Romantic Loose Ends: In the final scene, Cameron is implied to be starting a relationship with Emily. And his girlfriend is last seen dancing with Howard's brother. And Howard and Peter are heavily implied to be in a relationship as well.
  • Closet Key: Peter and, in a bizarre straight example, Cameron. Howard, not the type to ever consciously form a romantic relationship with someone he knew he wasn't attracted to, honestly didn't realize that he was gay until Cameron planted the seed in his mind. Peter forced him to acknowledge rather than deny what he was realizing. One has to wonder what tricks Howard's subconscious had to play to keep him from ever truly suspecting he wasn't straight. Being against premarital sex, fine, but not seeming to have any sexual desire at all for the person you're going to marry seems as though that might just tip off some sort of alarm. "I might be gay. I might be asexual. I might not really be in love with this person." Something.
  • Coming-Out Story
  • Confessional: Howard goes to one to talk about his problem, telling the Father I Have This Friend..., and describes the situation. The Father listens but the moment Howard mentions "his friend" has held off on sex with his fiancée for three years the Father immediately tells him this "friend" is gay.
  • Contagious Laughter \ Tension-Cutting Laughter: The friends of Howard's mom gather around, and inspired by him start to confess things too. The last one ("My husband has three testicles!") leads to awkward silence, and then these kinds of laugh.
  • Cure Your Gays: Howard attempts this with a self-help tape.
  • Dance Party Ending: The Video Credits, set to "Macho Man". Yes, really.
  • The Ditz:
    Carl: Why is everyone talking about Howard?
    Mrs. Lester: Because he likes DICK, Carl!
    Carl: Oh. [later] Dick who?
    • Walter, Howard's brother. He tends to pick things up slowly, but at the climax has a wonderful Eureka Moment. See I Am Spartacus for the results.
  • Everyone Is Gay: The first guy Emily hits on after her wedding is Peter Malloy. Unfortunately for her, he's gay.
    Emily: Is everyone gay?! Is this The Twilight Zone?!
  • The '50s: Though the movie takes place in the present day, the values displayed by the townsfolk of Greenleaf, Indiana indicate the city is more or less stuck here.
  • Fired Teacher: "Warnings" from the high school principal indicate that Howard will be one if he doesn't go through with the wedding (which would more or less confirm his homosexuality). After he comes out at the ceremony, he's fired via phone call offscreen.
  • Forced Out of the Closet: Howard is outed by a former student live on national TV as he accepts an Oscar, and since everyone in this Indiana small town was watching the ceremony, literally every eye in the city was on Howard at that moment, meaning something had to be done. Funnily enough, this also ends up forcing Howard out of the closet in his own mind, as he legitimately had no idea he was gay up to that point.
  • Formerly Fat: Emily
  • Freudian Slippery Slope: "This is my Peter - my FRIEND, Peter. We just met at the, uh, intersexual... homosection... INTERSECTION!"
  • Halfway Plot Switch: The movie begins by centering on a straight man who is incorrectly outed by a well-meaning-but-misguided former student. Then, at the altar, he says, "I'm gay," and suddenly it's about the repercussions on his life, friends and family. (And fiancée.)
  • Have I Mentioned I Am Heterosexual Today?: Howard before he lets the realization sink in.
  • Hollywood Thin: Lampshaded with Cameron's model girlfriend, Sonya.
    Cameron: Eat something, I'm begging you! You look like a swizzle stick!
  • I Am Spartacus: Everyone at the graduation ceremony coming to Howard's aid when he's fired by claiming they were gay too.
  • Informed Attribute: Howard's homosexuality is based primarily around the fact that he says, straight out, "I'm gay." Well, that and some Tertiary Sexual Characteristics like dancing and his encyclopedic knowledge of Streisand. But, the number of actual genuinely gay activities (bonding romantically with other men; sexual activities with other men; kissing other men) he engages in? One. Actual gay activities he engages in of his own volition? ZERO. (Partially justified by the timespan of under a week, but nonetheless.)
  • Likes Older Women: Cameron
  • No Bisexuals: But it was Fair for Its Day. The movie portrayed homosexuals in a positive (though stereotyped) light and homophobia as idiotically paranoid. This was back before the phrase LGBT was thrown around as a catch-all.
  • N-Word Privileges: Meta-example. The screenwriter, Paul Rudnick, is an openly gay man who seems to enjoy playing with gay stereotypes (if his other works Jeffrey and the Stepford Wives remake are anything to go by).
  • Oscar Bait: Parodied mercilessly, along with every other Oscars-related trope, in the opening segment where Cameron wins the award.
  • Platonic Life Partners: In hindsight, this is probably how Howard thought of Emily when they were engaged, given that he's not attracted to her physically.
  • Post-Kiss Catatonia: Howard, after getting a good ten second kiss from Peter.
  • Punctuated! For! Emphasis! / Precision F-Strike: "FUCK! BARBRA! STREISAND!"
  • Real Award, Fictional Character: The plot starts as a local boy made good accepts an Academy Award and outs his high school English teacher in his acceptance speech.
  • Ripped from the Headlines: The plot was inspired by Tom Hanks' acceptance speech for his Philadelphia Oscar, where Hanks thanked a gay teacher that he didn't know was still closeted; said teacher got a ridiculous amount of media attention in his hometown.
  • Running Gag: Barbra Streisand, whom Howard likes and is thus frequently brought up to highlight his homosexuality.
  • Shaming the Mob: Low-key example. Cameron Drake starts it off by asking questions which destroy their farce of a story that Howard "resigned for the good of the students." Then his students claim they are gay, because it rubbed off of them from Howard. Then his brother Walter steps in to shame the community by claiming he still likes his brother and admits, by the faculty's logic, he must be gay as well. Then Howard's parents claim they're gay. Then the whole town slowly stands up in support.
  • Straight Gay/Camp Gay: Howard and Peter both straddle the line, Peter leaning towards Straight and Howard towards Camp.
  • Stunned Silence: Howard and Emily following Cameron's speech, Emily following Howard's own coming out.
  • Take That!:
    • A more subtle example than most. The other nominees that Cameron Drake is up against for Best Actor include Paul Newman for Coot, Clint Eastwood for Codger, and Steven Seagal for Snowball in Hell. Ouch.
    • The self-help tape Howard listens to tries to get him to stop dancing by making him think of Arnold Schwarzenegger: "Arnold doesn't dance! He can barely walk!"
  • Talk to the Fist: Two in a row, Emily to Howard at the wedding, and Howard to Peter just outside.
  • The Tape Knew You Would Say That: "Stop dancing!" Either that tape is watching him, or it's really pessimistic about its success rate. Some of its guesses are bizarrely specific. "Excuse me, are we a little teapot?"
  • Trans Equals Gay: Parodied. After the not-wedding, once Howard's come out, his father asks if he's going to "have an operation" (i.e. a sex reassignment), to which Howard responds with a Flat "What.".
  • Transparent Closet
  • Why Waste a Wedding?: In the end, Howard and Emily's wedding is called off, but the venue is still used for a wedding and reception at the very end - by Howard's parents, who renew their wedding vows. The movie ends with the townsfolk dancing at the reception to "Macho Man."
  • Writing Around Trademarks: Given AMPAS has serious restrictions regarding portraying the Academy Award ceremony on screen, employed heavily. At least they were lucky to have an actual Oscar statuette (Kevin Kline's own).


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