#Charles Buddy Rogers

[silveragelovechild]

“Wings” (1927) stars Richard Arlen & Charles 'Buddy' Rogers as WWI pilot. Their affection near the end of the film is considered there first on screen kiss between two men; and possibly the first on screen Gay kiss as well.

Other photos from the film seem to suggest the Gay Theory has some substance. Although the two men are involved in a love triangle with Clara Bow, Arlen and Roger’s appear affectionate throughout the film.

In this shot, Clara Bow seems to resigned to the fact that the men love each other.

And at the end of the kiss, Arlen tenderly strokes Rogers’ head.

[erstwhile-punk-guerito]

[stardustweare88]

[nowvoyagerit]

Mary Brian and Charles "Buddy" Rogers in Someone to Love (F. Richard Jones, 1928)

[old-hollywood-smash-or-pass]

Requested by anonymous

[citizenscreen]

Birthday remembrance - Charles "Buddy" Rogers #botd

[internatlvelvet]

hi!! welcome to my blog x

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[hwdownandout]

Jobyna Ralston and Charles 'Buddy' Rogers in Wings, 1927.

[gatutor]

Lilyan Tashman-Charles Buddy Rogers "The road to Reno" 1931, de Richard Wallace.

[quotethatfilm]

The wings / 1927

[silentdivasblog]

Reel Men Wednesday 🎬 Charles Buddy Rogers ❤️

[autumncottageattic]

Get Your Man is an American silent romantic comedy film released in 1927. The silent film stars Clara Bow, Charles "Buddy" Rogers, and Josef Swickard.  

[bigkimsprettyboyblog]

Charles “Buddy” Rogers & Richard Arlen

The first male on male kiss in film history.

CHARLES ROGERS & RICHARD ARLEN as Jack Powell & David Armstrong in WINGS (1927) dir. William A. Wellman & Harry d'Abbadie d'Arrast

[stardustweare88]

[twittercomfrnklin2001-blog]

Working Girls

Off-screen, Dorothy Arzner’s WORKING GIRLS (1931, Criterion Channel) has some strong queer credentials, what with a script by Zoe Akins, leading man Charles “Buddy” Rogers (that’s Mr. Mary Pickford to you), editor Jane Loring and Arzner calling the shots for all of them. The film itself focuses on heterosexual relationships, though it seems to suggest they’re not as satisfying as the friendships women develop independent of men.

Set largely in a hotel for young working women, the film opens with the manager pulling down the shades in her office, creating the sense that this is a space away from the temptations of Depression America. That shield won’t last. As soon as she’s gone, the tenants open the shades and the windows in the living room so they can listen to the music from a club next door. The film focuses on the newest tenants (Judith Wood and Dorothy Hall), small town sisters whose peroxided hair belies their innocence about New York life. Before long the two have jobs and beaux. Wood is smart enough to know she’s only dating saxophone player Stu Erwin for what his salary can bring her, while Hall mistakenly falls for society lawyer Rogers, thinking he’d be willing to cross class barriers to marry her. She even turns down a proposal from the kindly scientist (Paul Lukas) for whom she works because she expects her romance with Rogers to go somewhere.

Arzner directs with her usual grace and style. There’s a lovely tracking shot following Wood and Hall up the stairs to their room when they both come home from late-night dates, clever framing that uses architecture to place the women within their world and one funny montage when Wood, denied a modeling job when the couturier deems her lacking in style, upgrades her wardrobe. Throughout there’s an emphasis on the realities women face in the working world. Clothes are just one of the commodities required to improve a woman’s life. Her body, too, may be on the line, and she has to be smart to keep it from going to the wrong man. The only thing they can count on is each other. When Rogers announces his engagement to a woman of his own class, the other tenants try to keep the news from Hall. Wood consistently stands up for her sister, and even the lowliest employee at the hotel (the funny and appealing Dorothy Stickney) bends the rules to help the girls out when they need it.

[ohfiddlefrancesdee]