[ SECRET POST #3210 ]

[case]

⌈ Secret Post #3210 ⌋

Warning: Some secrets are NOT worksafe and may contain SPOILERS.

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Notes:

Secrets Left to Post: 02 pages, 045 secrets from Secret Submission Post #459.
Secrets Not Posted: [ 0 - broken links ], [ 0 - not!secrets ], [ 0 - not!fandom ], [ 0 - too big ], [ 0 - repeat ].
Current Secret Submissions Post: here.
Suggestions, comments, and concerns should go here.

Comments

[(Anonymous)]

I spent some time trying to dig up evidence for that a while ago and this is what I managed to find:

http://www.ew.com/article/2000/02/11/road-el-dorado

One thoroughly un-Disney aspect of this PG-rated film is the brief animated nudity when the Kline and Branagh characters skinny-dip in a hot-spring tub – one of several ambiguously gay moments between the buddies.

”There was a lot of me saying to Kevin, ‘What’s the plan now, darling?”’ says Branagh. ”But they cut the ‘darling’s out, actually. Jeffrey would say, ‘I don’t think you can say ”darling.” I’d say, ‘It’s affectionate.’ He’d say, ‘Yeah, yeah. Different kind of audience.”’

http://www.escapistmagazine.com/forums/read/326.206950-The-Road-to-El-Dorado-Movie-Review

In the smaller scheme of things, still, is an aspect that is no less intriguing, as it pertains to the very essence of the character relationships in the film. Although this was in itself an element that was being developed over time as the writing process went on, the earlier versions had much more firmly established Tulio and Miguel as lovers. Yes, you read that right: DreamWorks was not too far off from starring characters that were not only homosexual but also completely non-stereotypical in what was intended as a mainstream movie. With the greater scope that the earliest drafts had built on, that relationship was to have taken on additional depth. Of course, this was all implicit anyways, mainly comprised of pet names ("darling" and "lover", to be precise) and subtle interactions. Once again, the suits fretted, cut the idea and apparently forced some more socially acceptable elements, on the basis that modern audiences were open-minded, "but not that open-minded." Truer words were never spoken. Still, there is a lot in the way of suggestive elements, and many scenes subtly evoke what they were originally going for. Some foreign versions of the film even inadvertently used the older draft in translating the subtitles; so if, say, one saw the movie as distributed in Spain, the subtitles would include the endearments and pet names, even if the actual audio did not. The final version did retain many exchanges that gave light to the relationship, as well as many facial expressions and animations. There are few films for which this holds true, but this is one of the rare examples where the subtext truly is there.

This reviewer doesn't say where they got their info from though, and I never found an original source of it.