MIKAËL (1924)
★ ★ ★ ★ ★ ★ ★ ☆ ☆ ☆ (7/10)
seen from China

seen from United States

seen from United States
seen from China
seen from Algeria
seen from Russia

seen from United States
seen from Bangladesh
seen from Malaysia

seen from United Kingdom
seen from Maldives
seen from Brazil
seen from United Kingdom
seen from Germany
seen from Australia

seen from United States
seen from China
seen from Türkiye
seen from United States

seen from United States
MIKAËL (1924)
★ ★ ★ ★ ★ ★ ★ ☆ ☆ ☆ (7/10)

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MIKAËL (1924) dir. Carl Theodor Dreyer Mikaël is an artist who rises as his teacher, the aging Zoret, falls. Zoret gives Mikaël his start, and their relationship is sexual as well. Then Mikaël takes up with the Princess Zamikoff, selling gifts from Zoret and even stealing from the master to pay for his carnal and luxurious life with her. He abandons Zoret, whose health begins to fail but who also discovers spirituality in his solitude. In a subplot, Alice Adelsskjold cuckolds her husband and takes a lover, the Duke of Monthieu; their relationship, infused with the eroticism of art, also gives way to religion as the duke becomes ill. (link in title)
Benjamin Christensen and Robert Garrison in Michael (1924) dir. Carl Theodor Dreyer
Early LGBT Pairings in Film Through the Decades:
1919 - Paul Korner (Conrad Veidt) and Kurt Sivers (Fritz Schulz) in Anders Als die Andern/Different from the Others
1924 - Eugene Michael (Walter Slezak) and Claude Zoret (Benjamin Christensen) in Michael
1931 - Manuela von Meinhardis (Hertha Thiele) and Elisabeth von Bernburg (Dorothea Wieck) in Madchen in Uniform/Girls in Uniform
1948 - Brandon Shaw (John Dall) and Philip Morgan (Farley Granger) in Rope
1955 - Jim Stark (James Dean), Plato Crawford (Sal Mineo) and Judy (Natalie Wood) in Rebel Without a Cause
1961 - Martha Dobie (Shirley Maclaine) and Karen Wright (Audrey Hepburn) in The Children’s Hour
*Note that some of these are unrequited loves, and some are ambiguous as to how requited the feelings are. But in every example here, at least one character is either canonically shown or heavily implied to have feelings for the other(s).
Michael 1924 (heartbreak)
A great film from a Danish director that showed both gay and bisexual characters in the most natural way back then in early 20′s.
This moment is one of my favourites when the internal pain the painter felt from his beloved’s betrayal is expressed through his painting.
It’s his moment, he is praised, people cheer for him, he is expected to smile. But the one he loves isn’t there to share his joy...so none of these matter.

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Michael (1924) dir. Carl Theodor Dreyer
Michael (1924) dir. Carl Theodor Dreyer
“A new film of homosexual content”
“While the homosexual content of the film is not obvious, there are many cues visible to those who look. And so, a work of art results that must perhaps remain unclear to many dull eyes, but the pleasure is all the greater for the knowledgeable one who can recognize and empathize with the vicissitudes of the characters.”
A translation of a review of Michael (1924) in Die Freundschaft - a German Weimar-era gay magazine that was published from 1919 to 1933