A Woman Pretending To Be a Man Pretending To Be a Woman. . . .
Victor/Victoria
1982 Writer & Director: Blake Edwards.
Starring: Julie Andrews, James Garner, Robert Preston, Leslie Ann Warren, Alex Karras
Drag-themed brunches have become popular in Palm Springs and elsewhere, bringing food, music, and smiles to customers. These events often headline local performers, many of whom are very talented. But a recent advertisement for a “Victor/Victoria” Brunch, in which Julie Andrews is dressed as a flapper and performs “Le Jazz Hot!” suggests the quintessential importance of this movie. “Victor/Victoria” examines gender roles and the gay underground culture of 1930s Paris. As such, it an early example of a mainstream Hollywood film that takes on these issues with humor and sensitivity.1
Victoria Grant (Andrews) is a talented but destitute soprano in Paris of 1934. When she is declined for a singing job, Carroll “Toddy” Todd (Preston) sees her potential, takes her in, and mentors her. A rainstorm that shrinks her clothing obliges her to don a man’s suit in Toddy’s closet. This occurrence inspires him to pass her off as a female impersonator, and she becomes Count Victor Grazinski.
Deception and gender-bending are charmingly accomplished in this film. Victoria and Toddy work to pass “Victor” off as a gay Polish performer. Toddy, who is gay, has them pretend to be a couple to avoid suspicion. The pair finds success through their scheme and audiences love “Victor’s” nightclub performances. Only King Marchand (Garner), a Chicago gangster on holiday, doubts this scenario. A dance number in which two couples alternatively “become” male or female depending on which way they face the audience highlights the powerful role that illusion plays in perception.
LGBTQ+ themes and characters have become commonplace in movies since the 1990s, but this was not always the case and when they did appear, it was rarely done with benevolence or empathy. “Cabaret” (Liza Minelli, Michael York, 1972) features two gay characters, but as with much of the film, it seems mostly for shock value. Perhaps the same could be said of “Rocky Horror Picture Show” (Tim Curry, 1975), a musical parody of horror films, which was not well-received initially.2 In “Dog Day Afternoon” (Al Pacino, 1975) the pathetic protagonist robs a bank for his partner’s sex reassignment operation. In these three films, sexual orientation is a secondary theme. And with the exception of Michael York’s character, the rest seem intimidating, immoral, or scary.
“Victor/Victoria” is different. Its characters are likeable and charming. Andrews is well-known for playing wholesome characters and it is no different here. And Preston is endearing as his character nurtures Victoria. The film also challenges stereotypes: “Squash,” King’s macho bodyguard, is played by a former football player (Karras).
This film appeared before the AIDS epidemic, which was initially blamed on the gay community. It might not have had a similar success if it had been released in the late 1980s because of the stigma. Perhaps because of its endearing characters and its setting in Paris of yesteryear that it suffered no backlash.
Copyright © 2025 by Rosi Prieto, Ph.D.
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The 1995 documentary, The Celluloid Closet, examines the history of films depicting gay characters since the inception of the medium; it does not mention Victor/Victoria.
https://en.wikipedia.org/wiki/The_Rocky_Horror_Picture_Show