artistic significance of homoeroticism, then and now

Ian McKellen may have been the first to interpret the relationship between Frodo and Sam in Peter Jackson's script as being homoerotic. McKellen, publicly gay since 1988 and now a British spokesman for gay rights, portrays the role of the Gandalf in Jackson's film. His character is nearly asexual. McKellen speaks to his initial intrigue with Jackson's project as being the versatility of perspective regarding the 2 primary protagonists (Sam and Frodo). He's not shy about admitting in interviews to consulting with Jackson about letting nothing taint a homosexual interpretation, even encouraging innuendos. And in modern cinema, this poses a very relevant artistic spin on the overall piece. McKellen reveals how he treasures his viewpoint of Frodo and Sam's homosexual connection, and is surprised more fans don't become aware of the possibility of such a bond.

Homosexuality within the Renaissance play Edward II, however, adjusts the artistic spectrum of the piece in a very different manner. It is more likely that Marlowe presented homosexual tendencies as a characterization of Edward II's lack of a kingly manner than to appeal to the homosexuals within his audience. In addition, he was following historical accuracy. Edward II's affinity for men likens his character to that of a woman, or a Queen. Edward III's rise to decisive action is made ever more dramatic by this foil between father and son.