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Lola may not be identifiably gay, but it is a mistake to assume that films which showcase the homosexuality of their drag queens are automatically more provocative in doing so. However, contrary to Holden’s argument, this obscurity is decidedly not “reassuring,” nor is it a move of conservative prudishness.
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He is right that Lola doesn’t exhibit much sexuality in the movie other than a few saucy song-and-dance numbers on stage, and he is right that the choice to de-emphasize her sexuality obscures her sexual orientation. He is right that Kinky Boots needs to be sexually provocative to qualify as a meaningful drag film. Holden is correct on three counts and wrong on one. Through this lens, Kinky Boots appears to be an overly conservative film that keeps its drag queen lead in the closet in order to avoid ruffling the feathers of potentially sensitive moviegoers. Rather, Holden’s grievance with the movie much more likely concerns its failure to depict gay sex, the expected next step in the “flouting of convention” that he argues is conspicuously absent from Lola’s role. Holden’s issue with Kinky Boots cannot be just that it doesn’t show sex sex has become such a mainstay of contemporary Western cinema that audiences are no longer the least bit scandalized by seeing a man and a woman making out on the big screen. Since drag in the real world is usually (but not exclusively) performed by the gay community (Holcomb 415), it makes sense for most cinematic drag queens to be gay as well. One way that drag films have traditionally done this is by putting the homosexuality of their drag queen protagonists on display ( The Birdcage or The Adventures of Priscilla, Queen of the Desert). Kinky Boots is held to a different standard as a drag film, a unique genre of cinema that is usually oriented around an organizing motive of challenging the prevailing gender and sexual norms. What is it about Kinky Boots that makes sexual provocation a “crucial ingredient” to the success of the movie when it isn’t for so many others? However, Holden’s gripe with Kinky Boots cannot be understood to pertain to a simple lack of sex in the movie: after all, many classic films that enjoy universal critical acclaim don’t focus at all on the sex lives of their characters. Because her flouting of convention doesn’t extend beyond sartorial display, her brand of gender-bending subversion is almost reassuring.” Holden believes that the creators of Kinky Boots, inspired by the financial success of thematically similar British films, neutered their drag queen in an attempt to produce a family friendly film with mass appeal. Stephen Holden of the New York Times criticizes the movie for lacking “genuine sexual provocation” and argues that Lola isn’t convincing as a protagonist because she “never behaves seductively, nor is there even a hint of sex in her life. But many critics didn’t share my enthusiasm when they reviewed the movie after its theatrical release (Holden Puig Thomson).
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After watching Kinky Boots, I found it to be a powerful film that successfully challenges mainstream perceptions of gender and drag, while telling a heartwarming story to boot.
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In a gamble to resuscitate his ailing company, Charlie hires a feisty drag queen named Lola to advise him on how to diversify into a new product line: women’s stiletto boots with a heel sturdy enough to support a man’s weight. Kinky Boots is a 2005 British film about a young Englishman named Charlie Price who inherits a struggling shoe business from his deceased father. In our cultural library of films about drag, there is a little-known gem called Kinky Boots that is often lost in the shuffle.