The older-woman look can work in several ways. Cary Grant took this tack in I Was A Male War Bride (1949) as, most famously, did Jack Lemmon and Tony Curtis in Some Like It Hot (1959), followed by Robbie Coltrane and Eric Idle in Nuns on the Run (1990) and Shawn Wayans and Marlon Wayans in White Chicks (2004) – all films requiring a hefty suspension of disbelief and revolving around the supposedly inherent absurdity of men sacrificing the high social status of their gender to pose as women. Hence Elizabeth Taylor's jockeying in National Velvet (1944) Julie Andrews's female-impersonator-impersonation in Victor Victoria (1982) the soldiering of Disney's Mulan (1998) and the pursuit of education by the title characters of Osama (2003) and, of course, Yentl (1983).įor boys, the coquettish look is most often deployed as a contingent ruse – a way for a man in a tight spot to avoid recognition and trouble. Her role as a crook hiding from the cops was unusual – most of the time, when girls dress as boys in movies it's not to evade justice but to get access to opportunities denied them by society's sexism. Katharine Hepburn was in boy-drag for much of Sylvia Scarlett (1935), her first team-up with Cary Grant.
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