relationship with Smitty engage with themes of sexual slavery and power dynamics within the prison’ s society. Rocky says, early on in the film, that new inmates need“ old men” in order to keep themselves from getting attacked or sexually assaulted by some of the older inmates. Queenie fills this role for Mona, and Rocky fills this role for Smitty. The partnerships that are developed, however, are neither platonic nor positive. Mona and Smitty are both surprised when Queenie and Rocky insist on sexual favors in exchange for their protection, and neither party comes out unscathed when their“ old men” decide that it’ s time for them to“ pay their dues”. There are several moments of nonconsensual sex throughout the film, primarily between Rocky and Smitty. These scenes are never explicitly shown( they are often paired with shots of water coming out of shower heads), but viewers know exactly what’ s happening, even if they can’ t see it.
Here, then, the film allows for the opportunity to discuss the negative stereotypes that existed around nonstraight individuals during the West’ s 60s and 70s. Queerness has frequently been associated with pedophilia or rape, as consensual non-straight sex between two parties is difficult – evening frightening – for non-queer society to consider. By presenting a non-straight relationship, such as the one between Smitty and Rocky, as one steeped in violence, it becomes easier for some viewers to perceive non-straight relationships as inherently immoral. By associating the relationship between Rocky and Smitty with violence, as well, heteronormativity is also preserved. One member of the relationship – Rocky – is presented as particularly“ masculine” and“ dominate”, whereas Smitty is presented as“ submission”, or“ feminine”. Here, the illusion of straightness is preserved between the duo.
It is worth stating, however, that the relationship between Smitty and Rocky – as well as that between Mona and Queenie – is non-consensual. Fortune and Men’ s Eyes depicts male on male rape in the prison system without apology. Neither of these relationships are positive representations of what queer relationships can look like.
T h e o n e v a g u e l y p o s i t i v e relationship in the movie is that which exists between Queenie and the society within which she exists. Queenie’ s c h a r a c t e r i s b e s t d e s c r i b e d a s aggressive. She is unapologetic in her non-straight nature; she is relentless in pursuing what she wants, be it hair dye or a sexual relationship. She demands respect and receives it as such. This confidence, depicted through a character whose morality is a bit mixed, still promotes the idea that non-straight individuals are allowed to be confident in their queerness. Queenie is, in fact,
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