The celebrated author and playwright passed away at his home in Los Angeles after suffering complications from pneumonia.
Vidal, who had relationships with both men and women, often wrote about homosexuality and his 1948 novel The City and the Pillar was one of the first books to feature an openly gay character.
And gay Scissor Sisters singer Shears has taken to Twitter.com to acknowledge Vidal's groundbreaking contributions, writing, "RIP Gore Vidal. A truly great American original. What a legacy", while his bandmate Del Marquis adds, "Gore Vidal... thank you for wit & for being queer - long before there were gay rights."
Gay actor Quinto declares, "One of Tennessee's closest and a true revolutionary. Incendiary. Insightful. Incisive. Missed by many already", and Lowe ?told his followers, "Now there was a man who knew how to use his pencil."
Rocker Tom Morello ?writes, "RIP Gore Vidal. Glad to have met him. Incredible mind/wit/life."
Josh Groban, Sandra Bernhard and Courtney Love also offered their thoughts on Vidal online.
Set during the Spanish Civil War of the 1940s—a favorite area of exploration for writer-director Guillermo del Toro—the story follows dreamy 11-year-old Ofelia (Ivana Baquero) as she’s uprooted and relocated to a remote military outpost when her sickly mother (Ariadna Gil) marries the wantonly cruel camp commander Captain Vidal (Sergei Lopez). With the compassionate but secretive housekeeper Mercedes (Maribel Verdu) as the closest thing to a friend she has in the oppressive environment Ofelia escapes into a richly textured fantasy world. She follows a dragonfly she believes is a fairy into a landscaped but neglected garden maze she recasts as the lair of the goatish godling Pan (Doug Jones). He tells her she’s the last heir to a magical otherworldly kingdom and charges her with several tasks to help her reclaim her birthright. As her personal world grows more and more grim—the impending birth of her half-brother threatens her mother’s health her step-father grows colder and colder in his bid to crush the resistance and Mercedes’ hidden agenda places her in jeopardy as well—Ofelia soon finds herself tangling with hideous monsters both imagined and all too real often having difficulty distinguishing which is the more dangerous. The astonishingly real performance of the amazing young Spanish actress Baquero as Ofelia anchors the film firmly in both its real world and fantasy environments as only the convincing imagination of a child could. Lopez is an equally compelling discovery as the callous Vidal pitiless vicious and malevolent while still remaining believably human throughout. He’s unblinking in his depiction of a thoroughly vile and cruel man but avoids any aspect of cartoonish evil. And Verdu (Y Tu Mama Tambien) as Mercedes is a wonder as well with her remarkably expressive face unlimited by the film’s Spanish language barriers. Kudos too to Doug Jones a whisper-thin actor who specializes in “creature” roles (he’s played Abe Sapien in del Toro’s Hellboy and will be the Silver Surfer in the Fantastic Four sequel) who somehow magically delivers fully-formed performances as both the faun Pan and the freakish Pale Man through layers and layers of latex. Pan's Labyrinth is unquestionably Guillermo del Toro’s finest film work to date as pure an artistic vision as is likely to be committed to celluloid. He wisely worked outside the Hollywood system in his native Spain to bring his dark tale to life. The story exists in that shadowy netherworld between childhood and adulthood innocence and awareness of the world’s more sinister nature and its characters and themes are explored in ways that no mainstream film would ever allow. On the surface the trappings are Tim Burton-esque but the dark corners Pan's Labyrinth peers into are grim and gloomy indeed; del Toro is never afraid to delve into the murkiest of directions that to audiences used to more conventional movies are heart-wrenching even gut-churning but ultimately emotionally honest and in unexpected ways as immensely satisfying as they are haunting. The film is the announcement of the complete arrival of a major filmmaker and we can only hope that the qualities del Toro brings to this work do not get lost in the maze of Hollywood for future films.
Yes it’s true. Although it reaped deserved accolades and an Oscar win for its star Philip Seymour Hoffman Capote keeps you somewhat at arm’s length as you watch Truman Capote go through his agonizing journey to writing his one and only masterpiece In Cold Blood. Infamous however wears its heart on its sleeve drawing you in immediately. When we first meet Capote (Toby Jones) it’s in New York. As the toast of the town and confidante to some of Manhattan’s elite grand dames including Babe Paley (Sigourney Weaver) and Slim Keith (Hope Davis) Capote’s mood is light and airy his antics hilarious. Then once Capote travels to Kansas to cover the grisly Cutter murders with his dear friend Nell Harper Lee (Sandra Bullock) the frivolity is peeled away layer by layer. When he finally becomes so tortuously—and yes even romantically (it goes there)—entangled with killer Perry Smith (Daniel Craig) and the writing of his book hits its crescendo Capote emerges as a beaten-down and bitter man who ultimately can’t even be lifted by his high society friends. Infamous is infinitely more heartbreaking. It’s really hard to top Hoffman’s Oscar-winning performance as Truman Capote. He embodies the character with such exquisite and subtle suffering you don’t mind the fact he doesn’t look anything like the diminutive author. Toby Jones (Finding Neverland) however does look like Capote. A LOT like him and is just as capable at wringing out all of Capote’s brilliance and faults. But rather than dominate Jones’ eerie look-a-like characterization blends in more with Infamous’ scenery allowing some of the other colorful characters to step up to the plate. Weaver and Davis are effusive and catty as Capote’s Manhattan buddies who give hints on what’s to become of Capote later in his life when he finally goes too far and crosses these fine society ladies. Craig is also particularly effecting as Smith full of pathos and rage. But the real stand out is Bullock as Harper Lee. Her unassuming but quietly fierce take on the To Kill a Mockingbird author far outshines Catherine Keener’s Oscar-nominated performance in Capote. Bullock brings such an essence to the role that when watching Lee tell stories of when she and Truman were children you see the little girl Scout from Mockingbird so very clearly. Kudos all around. Director/writer Douglas McGrath has to got to be kicking himself. Seriously. Of course he’s going to say “Given the riveting contradictions in Capote’s character the rich range of people who made up his circle and the comic and dramatic turns that marked the period the real wonder is that there were only two scripts.” But the fact of the matter is Capote came first and furious getting all kinds of good strokes. Releasing another movie about the very same subject on its heels...well that movie is going to have a harder time. Period. And that’s a real shame. McGrath does some truly marvelous things with Infamous. He shows how a flamboyant gay writer spoiled chic who plays court jester to the very cream of New York society is set down in the wastelands of Kansas to write about a horrible crime. Capote’s antics at first are hilarious such as trying to wear cowboy boots and a cowboy hat just to fit in. But then the shift into the dark side as Capote delves deeper and deeper into the psyche of the killers keeps you riveted. It might be the same but Infamous is just as worthy.