I always considered Welles rare in that he was tolerant of gays- it didn't seem to mean too much to him at all, though the theatre community has always been this way. If Welles had had an affair, someone would have talked about it- but in 90 years, nothing has ever even been suggested. He was, however, interested in human sexuality, although he had the old fashioned aversion to showing it onscreen- that is, until the 60's/ 70's cultural/sexual revolution in the west, the loosening up of censorship, and Oja Kodar. Welles joked that Bogdanovich had made his own "porn' movie" (The Last Picture Show"), and that now Welles would make his own. And Oja has said how she influenced him to be more open about depicting sexuality in his films. Unfortunately, he only had one opportunity- "The Other Side of the Wind" which attacks the myth of the macho man- which Welles always said he hated, i.e. the "Hemingway syndrome"; but TOSOTW contains only allusions to Hanneford's repressed homosexuality, and how the repression of that sexuality has warped Hanneford's personality, whereas it contains an explicit sexual scene between Oja' character and Bob Random's character. And in the Big Brass Ring, Blake Pellarin is not gay, but has been loved by Kim Menaker (Orson's character) his former teacher, for years. It's a political thriller, but with strong sexuality involved. But neither of this films falls into what one could categorize as expressions of Welles' gay sexuality. I think a better argument might be the twinning of male characters in so many of Welles' films:Kane/Leland, Eugene Morgan/ Georgie Minafer, Kindler/Wilson, Michael O'Hara/ Arthur Bannister, Othello/Iago, Arkadin/Guy Van Stratten, Quinlan/Vargas, Quixote/Sancho, Humphrey Baxter/Allan Brody, Joesph K/ Hastler, Falstaff/Prince Hal, and Clay/Levinsky.
If we analyze these relationships, we can see the obsession for Welles was not sexuality, but power relations between men, often with a woman invovled in some way:
1. Leland, Kane's best friend, is dissapponted by Kane, and finally disloyal; it's Leland who says that all Charlie ever wanted was love. but it's Leland who knew Emily, Kane's first wife, first: he went to dancing school with her, and tells Thompson " She was a little nicer than all the other girls." There might be an element of jealousy here, with revenge in the form of the bad review (even though it was to have been honest) and disloyalty, by requesting to go to Chicago.
2. Georgie wants to destroy the relationship between his mother and Morgan because of jealousy: he ends up destroying his mother.
3. Wilson is out to destroy Kindler: he does so through Kindler's wife.
4. Bannister wants to destroy O'hara for having an affair with his wife; his wife wants to destroy him: they end up destroying eachother; this is a Welles anomolay, as his character is relatively benign, and escapes from death in the end.
5. Iago wants to destroy Othello, probably for reasons of professional and sexual jealously; he does so by planting the idea of Desdemona's being disloyal in Othello's mind, but ends up destroying all three of them.
6. Arkadin wants to destroy Van Stratten because of jealousy over his daughter: he destroys himself, but is successful in parting his daughter from Van Stratten.
7. Vargas must destroy Quinlan because of Quinla's illegal tactics; Quinlan must protect himself by trying to destroy Vargas, and try to do this through Vargas's wife; however, a criminal murdered Quinlan's wife years before, and there's an element of jealously in Quinla's motivations. In the end, Quinlan loses.
8. Baxter must destroy the relationship between Brody and Carolyn; through devious means, he does, and wins her back. A lighthearted verion of the usual theme, for television. Welles calls this a story of the "eternal triangle- between one woman and two men."
9. Quixote/Sancho: Perhaps the most optimistic and loyal of all relationships netween men in Welles's work: Even though the Don drives Sancho crazy, and is truly crazy, Sancho never leaves the Don- he is eternally loyal- perhaps Welles' favourite story- and the woman is only one of fantasy.
10. Joseph K/Hastler: This one doesn't quite fit: Hastler merely represents the state in human form, and it's the state which is trying to destroy Mr. K; K fights and loses: the various women he meets along the way are only different reptresentations of the state, as are all the men: K's crime might be just not understanding what everyone else does, and playing the game.
11. Falstaff: In order to gain power, Prince Hal must destroy his spiritual father, and be loyal to his real father, who represents power and wealth in the form of the king. There are only incidental women in this one.
12. The Immortal Story: Clay tries to achieve some kind of power in the form of immortality by forcing a myth to be true; Levinsky is loyal, and warns him, but Clay destroys himself: this story has two younger males: Levinsky and the sailor.
13. The Other side of the Wind: Hanneford wants to prove his potency by sleeping with the girlfriends of his male stars, all the while covering up that it's the stars he is in love with: so he must always destroytthe young male stars: this time though, he fails and destroys himself.
14. In The Big Brass Ring, Menaker tries to destroy Pallarin because of sexual jelaousy, but fails and is destroyed himself.
Welles was obssessed with rrelations between males, but in terms of power and loyalty rather than sexuality; Welles seems to have been pretty regular in the latter department.