It seems as if Ernest Hemingway regarded homosexuals as effeminate  sissies
towards whom he had nothing but contempt.  Not a major story 
but something worth knowing for use at some appropriate time.
 
Billy R.
 
 
 
Excerpts from a longer article with additional quotes on other  subjects-
 
 
 
 
Wellesnet.com
 

 
CLASH OF THE TITANS: When ORSON WELLES met ERNEST HEMINGWAY to narrate THE  
SPANISH EARTH (May, 1937)
July 18, 2007  
 
By Lawrence French 
ORSON WELLES: My relationship with Hemingway has always been  very droll. 
The first time we met was when I had been called to read the  narration for a 
film that he and Joris Ivens had made about the war in Spain; it  was 
called The Spanish Earth. Arriving at the studio, I came upon  Hemingway, who 
was 
in the process of drinking a bottle of whiskey; I had been  handed a set of 
lines that were too long, dull, had nothing to do with his  style, which is 
always so concise and so economical. There were lines as pompous  and 
complicated as this: "Here are the faces of men who are close to death," and  
this was to be read at a moment when one saw faces on the screen that were so  
much more eloquent. I said to him, "Mr. Hemingway, it would be better if one 
saw  the faces all alone, without commentary." 
This didn't please him at all and, since I had directed the Mercury 
Theatre,  which was a sort of avant-garde theatre on Broadway, he thought I was 
some kind  of faggot and said, "You effeminate boys of the theatre, what do you 
know about  real war?"  Well, taking the bull by the horns, I began to make 
effeminate  gestures and I said to him, "Mister Hemingway, how strong you 
are and how big  you are!" That enraged him and he picked up a chair; I 
picked up another and,  right there, in front of the images of the Spanish 
Civil 
War, as they marched  across the screen, we had a terrible scuffle. It was 
something marvelous: two  guys like us in front of these images representing 
people in the act of  struggling and dying... We ended by toasting each 
other over a bottle of  whiskey. We have spent our lives having long periods of 
friendship and others  during which we barely spoke. I have never been able 
to avoid gently making fun  of him, and this no one ever did; everyone 
treated him with the greatest  respect. 
---------------------------- 
Here is the transcript of Welles comments to Michael Parkinson in 1974 
about  Hemingway and bullfighting. As previously noted, there are many  
correlations between Welles comments here and his script for The Other  Side of 
the 
Wind. 
Among them: Jake Hannaford's father, like Hemingway's, has commited 
suicide.  And both Jake H. and Ernest H. will follow in their father's 
footsteps.   
Strangely, the great matador, Juan Belmonte, who Welles mentions in 
passing, and  was admired greatly by both Welles and Hemingway, would also kill 
 
himself,  a year after Hemingway's suicide.  
Welles also notes he stopped following the bullfights, just as his father  
stopped hunting, a telling comment, given that Welles later wrote he felt  
responsible for his father's death. Then there is the whole speculation  
about whether or not Hemingway's own homophobia might have been a smokescreen,  
if in fact, he did harbor any latent homosexual desires, as Jake Hannaford  
certainly does. 
------------------------------------------- 
ORSON WELLES: He was a very close friend of mine. I knew him on and off for 
 many years. We had a very strange relationship. I never belonged to his 
clan,  because I made fun of him, and nobody ever made fun of Hemingway, but I 
did and  he took it, but he didn’t like me to do it in front of the club. 
We met in the  projection of a movie he made, which he wanted me to narrate. 
He had written the  commentary, and we hadn’t seen each other, this was in a 
dark projection room. I  was reading the text and I said, “Is it really 
necessary to say this, wouldn’t  it be better just to see the picture?” and 
things like that. Then I heard this  growl from the darkness, “Some damn 
faggot who runs an art theater trying to  tell me how to write narration,” and 
so 
on. So I began to camp it up. I thought,  “if that’s what I’m dealing 
with...”  So I said, "Oh, Mr. Hemingway, you  think because you're so big and 
strong and have hair on your chest that you can  bully me.” So this great 
figure stood up and swung at me, so I swung at him. Now  you have the picture 
of 
the Spanish civil war being projected on a screen and  these two heavy 
figures swinging away at each other and missing most of the  time. The lights 
came up and we looked at each other and burst into laughter and  became great 
friends. Not a friendship that was renewed every year, but over  many years 
at different times. I saw him again, the last year that he was  entirely in 
control of himself, quite a lot. But we never discussed  bullfighting, 
because except on the subject of (Antonio) Ordoñez we disagreed  profoundly on 
too many points. He thought he invented it, you know. He really  did think he 
invented it. Maybe he did. His book (The Sun Also Rises)  is superb. He’s a 
great, great, great artist. My admiration for him…    I was enormously fond 
of him as a man, because the thing you never get from his  books, was his 
humor. There is hardly a word of humor in a Hemingway book,  because he is so 
tense and solemn and dedicated to what is true and good and all  of that. 
But when he relaxed, he was riotously funny. That was the level that I  loved 
about him. I enjoyed being with him. I used to go out and keep him company  
when he went duck shooting in Venice in the autumns. I have many strange  
memories of him like that. I was enormously fond of him. But as an artist, I  
think that there are very few important writers, with the exception of 
Nabokov,  who have not been influenced to some degree by him. I think it’s 
impossible to  write the same as we did before he  wrote

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