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Minnelli, it seems, stubbornly refused to change with the times. The film retains the artifice of studio-era Hollywood even as that system was crashing around its head, which, combined with the film's horribly dated social milieu makes this seem like a relic. It also has an undercurrent of autogynephilia, which shades the film into the province of transgender slash porn. This film can't stand the idea that Debbie Reynolds might remain attracted to women as a woman, no matter the premise. From a trans-queer point of view, the way it postulates a fungible kind of sexuality based on the kind of body one is issued is risible. From a feminist point of view, it works a little as a revenge fantasy before it goes all weak in the knees. It was out of touch when it was released and never mind the day before yesterday. Oddly enough, it seems like it fixes the state of the conflict a few years prior to its making, 1958 rather than 1964. There are all sorts of problems with this premise: ignoring the obvious feminist and queer complaints, the main problem is that it fixes its battle of the sexes theme in time. Unfortunately, it doesn't really send up gender roles the way Some Like It Hot does so much as it suggests that biology is destiny, as a womanizing cad comes back from the dead as Debbie Reynolds, starts to soften almost immediately, and repents his womanizing ways. Today's subject is the gender bending comedy, Goodbye Charlie, a film obviously using Some Like It Hot as a touchstone-hence, the presence of Tony Curtis. Minnelli's slow eclipse during the 1960s is one of the more ignominious declines for a legitimately great director. Everything afterward is evidence of a director clinging to an idiom that was drifting further and further into irrelevance. That was effectively the end of his career. I sometimes think that Vincente Minnelli should have put a pistol to his temple after finishing Two Weeks in Another Town.