10 Classic Horror Films with Surprising Queer Coded Hidden Messages

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Horror stories have often carried subtle themes associated with queerness, stretching back to classic gothic literature like J. Sheridan Le Fanu’s 1897 novel “Carmilla,” and extending to early vampire films such as “Nosferatu” (1922) and numerous Universal Classic Monsters. The imaginative and fantastical aspects of horror provided a fitting environment for these stories with queer undertones.

In earlier times, when overt LGBTQ+ representation was not widely accepted in films, filmmakers often employed subtlety by using symbolism. Monsters frequently served as a symbol for members of the queer community. Filmmakers like James Whale cleverly delved into the experiences and challenges faced by this community, managing to circumvent the restrictive Hays Code or Motion Pictures Production Code, which prohibited explicit gay references. The implied messages and themes were evident to those whose stories they touched.

As a cinephile, I am grateful for the freedom today’s artists have in openly portraying queer themes in their films, especially in the horror genre. While there is no shortage of excellent LGBTQ+ horror movies to choose from, there’s a unique charm in discovering an older film from a bygone era and unraveling the hidden meanings, metaphors, and profound messages that lie beneath the subtlety.

Below, we delve into ten classic horror films with subtle LGBTQ+ themes, ideal for watching during Pride Month.

10
‘Nosferatu’ (1922)

The groundbreaking horror movie, Nosferatu, directed by F.W. Murnau and based on Bram Stoker’s novel Dracula from 1897, nearly vanished from existence due to legal issues, but fortunately for film enthusiasts, a copy was preserved. This German Expressionist silent film retained the essence of Stoker’s storyline, but significantly altered key elements such as character names, settings, and the count’s appearance. Nosferatu is credited with introducing the concept that vampires could perish under sunlight. The most significant departure from the original tale is that the film’s vampire can only be destroyed by a woman.

The Film That Queered Vampires Forever

Similar to the various interpretations of its underlying themes, the classic film Nosferatu has been often viewed through a lens of queer analysis. Director F.W. Murnau, who was presumed to be gay, incorporated subtle but significant nuances into his work. Unlike the traditional romantic lead, Count Orlok (Max Schreck) is portrayed as a repulsive, disease-ridden creature symbolizing societal homophobia. His intense gazes at Thomas Hutter (Gustav von Wangenheim), especially during scenes such as when he watches him undress or sucks on his finger, can be interpreted as suggestive of forbidden desires. In another scene, Orlok’s thirst for blood might be seen as a metaphor for homosexual longing.

Moreover, Orlok is frequently interpreted as a reflection of Hutter’s suppressed sexual identity. Despite his affection for his wife Ellen (Greta Schröder), he kisses her in an impersonal manner. The fact that he cannot recall being bitten by the vampire symbolizes his repression.

9
‘Frankenstein’ (1931)

Renowned director James Whale, who blazed trails in his field, is recognized for openly identifying as gay during his career, which was relatively unheard of at the time. It seems fitting that he would contribute to the modern retelling of Mary Shelley’s novel, whose themes can be seen as queer. The movie centers around Dr. Henry Frankenstein (Colin Clive), a man consumed by the quest to solve the riddles of death and life. After pilfering body parts from recently deceased individuals, he constructs a being by stitching them together and bringing it to life through electricity. Consequently, Boris Karloff’s iconic character, the misunderstood Monster, came into existence.

Roots in Queer Gothic Fiction

In a different interpretation, Dr. Frankenstein is often portrayed as a man struggling with repressed feelings, possibly homosexuality, in the film adaptation. Instead of focusing on marrying Elizabeth (Mae Clarke), Dr. Frankenstein seems more engrossed in his scientific endeavors. This detachment and solitude are subtly hinted at by Elizabeth, suggesting he is different from others. The rejection of his creation could symbolize his fear and apprehension towards accepting and embracing aspects of himself that he finds uncomfortable or unfamiliar – a reflection of his inner sexuality.

Regarding the character known as the Monster, he’s universally ostracized due to his unique birth, underscoring that one’s sexuality is not something they can control. The mob, carrying torches and pitchforks, hunts him without needing any justification. Despite their fear of him, the film portrays him as a sensitive individual with human emotions – an outcast yearning for acceptance.

8
‘The Old Dark House’ (1932)

James Whale breathes new life into another chilling masterpiece with “The Old Dark House“, an enduring story that laid the groundwork for future haunted house films and paved the way for a more campy approach to horror. The film unfolds in the eerie backdrop of Wales, where five strangers find themselves taking refuge under one roof – the same enigmatic mansion – during a heavy downpour. The peculiar Femm family owns this isolated manor, and throughout their stay, they encounter a series of unsettling and peculiar occurrences.

One of the Gayest Films of All Time

As a film enthusiast, I find that each member of the eccentric Femm family exudes an undeniable flair, unique in their own queer way. Horace, portrayed by the bisexual actor Ernest Thesiger with a delightfully campy performance, stands out as the most overt example. His sister Rebecca (Eva Moore), who manages the household, has sparked discussions among film theorists about her repressed lesbian nature. There’s a scene that suggests their brother Saul (Brember Wills), kept secluded in the attic due to his pyromania, might have shared a deep affection with Morgan (Boris Karloff), the family’s mute butler. This implies a family who conceal what society deems unacceptable – hinting at a hidden love story between Saul and Morgan.

Furthermore, the film represents one of the initial instances where a woman, Elspeth Dudgeon, portrays a 102-year-old cross-gender character, Sir Roderick. This movie is rich in themes that suggest LGBTQ+ identities, hinting at queerness, androgyny, and defiance of societal norms.

7
‘Bride of Frankenstein’ (1935)

While James Whale was establishing himself as a prominent figure in the film industry, he subtly communicated themes related to the queer experience through his work. For instance, he frequently portrayed the community’s battles for acceptance and the limitations imposed by society’s heteronormative perspectives. “Bride of Frankenstein” is one such example. After the events of “Frankenstein”, the movie follows Dr. Henry Frankenstein collaborating with the eccentric scientist Dr. Septimus Pretorius (Ernest Thesiger) to create a bride for the Monster, portrayed by Ella Lanchester.

One of the Biggest LGBTQ+ Icons

In this movie, there seems to be an implied romantic connection between Frankenstein and Pretorius that could be interpreted as a deep, unconventional bond. However, the film’s main theme revolves around challenging traditional relationships and norms, particularly heterosexual ones. The Bride, once brought to life, initially rejects her creator, the Monster, symbolizing the resistance of the queer community against conforming to societal expectations and heteronormative standards. This rejection represents the struggle of the queer community to break free from these norms.

6
‘Dracula’s Daughter’ (1936)

In the years prior to the surge of lesbian vampire films in the 1970s, Gloria Holden delivered a captivating portrayal as the alluring Countess Marya Zalezka. Although it follows on from the 1931 movie Dracula, Dracula’s Daughter essentially stands alone. Following her father’s demise, Marya assumes she is no longer afflicted by her vampiric condition, but learns otherwise to her dismay. She subsequently turns to psychiatrist Dr. Garth (Otto Kreuger), hoping he can help alleviate her unwanted urges.

The First On-Screen Lesbian Vampire

Through its portrayal of psychiatry, the movie implies the concept of conversion therapy, significantly tied to the suppression of sexuality during that time. The implication: Therapies aimed at changing one’s sexual orientation are ineffective, as a person’s sexual identity cannot be altered. Marya’s battle with bloodlust symbolizes her efforts to suppress her lesbianism.

In this movie, there’s a strong suggestion of lesbian undertones right from the start. After cremating her father’s remains, she expresses her intention to lead a conventional life and think ordinary thoughts. Her interactions with female victims are filled with intense tension and yearning, while her encounters with men are brisk and seem more necessary than passionate. Throughout the film, it’s clear that she has feelings for Janet (Marguerite Churchill). One of the most passionate girl-on-girl scenes in cinema history occurs between them, though they almost but not quite share a kiss.

5
‘Cat People’ (1942)

In Jacques Tourneur’s Cat People, Simone Simon plays the role of Irena Dubrovna, a Serbian immigrant and fashion illustrator living in bustling New York City. She harbors a deep-seated fear that her lineage is cursed, causing her to transform into ferocious panthers under the influence of passion. This belief has left her with a solitary existence. However, she finds companionship in engineer Oliver Reed (Kent Smith). Despite their marriage, Irena continues to struggle with intimacy. As time passes and their union remains unconsummated, Oliver grows closer to his coworker Alice (Jane Randolph), whom Irena develops an intense obsession with.

Female Sexuality, Repression, and Xenophobia

Irena’s pursuit of Alice isn’t driven by jealousy, but rather a deep attraction. In fact, she is drawn to individuals who stir or excite her sexually. Her transformation into a panther around Alice clearly illustrates this point. Furthermore, characters often remark on Irena’s unusual looks, making her feel even more estranged. As an immigrant, Irena already experiences a sense of outsider-ness, and this is compounded by her failed heterosexual marriage. Her reluctance to be intimate with Oliver could suggest repressed lesbian feelings and a struggle to conform to societal expectations.

4
‘The Uninvited’ (1944)

The Unwelcomed”

The story revolves around siblings Rick and Pamela Fitzgerald, portrayed by Ray Milland and Ruth Hussey, who during their holiday on the Cornish coast stumble upon Windward House, an old, deserted mansion perched on a cliffside. Impulsively, they decide to purchase this property. The current occupant, Commander Beech (Donald Crisp), residing nearby, surprisingly agrees to sell it to them at a remarkably low price, much to the disapproval of his granddaughter Stella (Gail Russell) who feels the house is haunted by her mother’s spirit. After settling in, strange events begin to unfold.

A Haunting as a Metaphor for the Terrifying Truth of Sexual Identity

After its debut, “The Uninvited” gained a clandestine following among queer cinema enthusiasts. Despite passing the Motion Picture Production Code (also known as the Hays Code), it attracted criticism from the National Legion of Decency, a Catholic organization that deemed it inappropriate. In a correspondence with William Hays, the head censor and chairman of the MPPDA, they pointed out the film’s implied lesbian themes and mentioned that “a significant number of audiences with questionable character attended this movie at off-peak hours.” These viewers were reportedly informed about the film’s suggestive and obscure elements in advance.

3
‘The Picture of Dorian Gray’ (1945)

As a devoted cinema enthusiast, I can confidently say that the 1945 version of “The Picture of Dorian Gray,” masterfully written and directed by Albert Lewin, stands out as the most captivating screen adaptation of this timeless work. In this film, Hurd Hatfield breathes life into the enigmatic Dorian Gray, a character who trades his soul for eternal youth and beauty when he wishes that his portrait would age instead of him. As the story unfolds, we witness not only the physical transformation of the painting but also its reflection of Dorian’s moral decay, as he becomes increasingly detached from reality and sinks deeper into a life of debauchery and sin.

An Adaptation of a Famously Queer-Coded Classic Novel

For many years, Oscar Wilde’s gothic novel has sparked discussions about its queer themes. This film version follows suit, with hints of homosexual subtext and characters whose sexual orientations are subtly suggested. The portrait of Dorian is kept under lock and key, symbolizing the need for secrecy in a society that forced LGBTQ+ individuals to hide their true selves. The character of Dorian carries an air of detachment, adding a layer of enigmatic allure that suggests his hidden sexuality. However, the film uses the “monstrous gay” trope, portraying Dorian as the stereotypical Evil Queer, yet it is society’s intolerance that drives him to hide who he truly is.

2
‘The Haunting’ (1963)

Based on Shirley Jackson’s novel “The Haunting of Hill House,” this film revolves around a team gathered at Hill House, a notorious haunted mansion, by Dr. John Markway (Richard Johnson), a researcher interested in paranormal activities. This group consists of a psychic named Theodora (Claire Bloom), Eleanor “Nell” Lance (Julie Harris), who had childhood encounters with poltergeists, and Luke Sannerson (Russ Tamblyn), the skeptical heir to the house. Throughout their visit, they encounter peculiar, uncanny occurrences. Eleanor starts to believe that the house is sentient and conversing with her.

Hill House as Nell’s Closet

Nell, who’s lived a sheltered life, decides to seize an opportunity to escape her mundane existence and explore the world, writing her own adventure in the process – symbolizing a suppressed woman starting a voyage of self-exploration. However, this quest turns dark as she becomes tormented, eventually suffering a mental collapse. The harsh reality of her identity, which was then considered taboo to acknowledge and accept, proved too much for her to bear when it was confronted head-on – referring to the struggle of understanding and accepting one’s queerness.

Theo openly identifies as a lesbian and expresses her sexuality freely at times. She often mentions the woman she cohabits with, flirts subtly with Nell on occasion, and occasionally voices her disinterest in men. In one instance, Eleanor implies that she appears “against nature.

1
‘Dr. Jekyll and Sister Hyde’ (1971)

In this reimagining of Robert Louis Stevenson’s timeless tale, blending elements from the Jack the Ripper case and introducing an unexpected twist, Dr. Henry Jekyll (portrayed by Ralph Bates) is driven by a desire to cure all human afflictions but finds himself short on time due to his mortality. This predicament sparks his pursuit of the elixir of life. Inventing a serum derived from female hormones extracted from deceased bodies, he undergoes a transformation into a stunning woman, whom he claims is his sister Edwina (played by Martine Beswick). To maintain this metamorphosis, they require additional fresh corpses for the potion’s sustenance.

A Surprisingly Progressive Take on Gender

The movie delves into themes of gender and self-identity. It has struck a chord with viewers who don’t conform to traditional gender roles, as it powerfully portrays the complexities of the non-binary lifestyle. Some have observed trans undertones in the film, appreciating the portrayal of a trans woman asserting her identity. Additionally, there are numerous hints and subtle references to LGBTQ+ experiences woven into the movie’s narrative.

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2025-06-07 03:40