Revisiting the Life and Legacy of Rock Hudson

Rock Hudson was an iconic movie star during the mid-20th century, captivating audiences with his chiseled features and rugged appearance. His double life as a gay man and his death from AIDS-related complications at 59 in 1985 have cemented his place in Hollywood history, yet he remains relatively unknown to today’s film fans.

Director Stephen Kijak explores Hudson’s legacy in his latest documentary, “Rock Hudson: All That Heaven Allowed.” The film premiered at the Tribeca Festival and will be available for streaming on Max on June 28. Kijak, who has directed several LGBTQ-themed documentaries, delves into Hudson’s life as both an archetypal movie star and a gay icon.

In a recent interview from his home in Los Angeles, Kijak spoke about Hudson’s legacy and the enduring fascination with a movie star who lived a gay life almost out in the open. Additionally, he highlights how Hudson’s openness about his illness marked a significant turning point in how the world approached the AIDS epidemic. The following conversation has been edited and condensed for clarity.

What inspired you to make a film about Rock Hudson?

The project presented itself at the perfect time, and it was brought to me by people I enjoy working with. I didn’t know much about Rock Hudson, but I love being in a position to discover something new. This project was initially titled “The Accidental Activist,” which is accurate but somewhat limiting. I felt there was a bigger story to tell, one that included his role as a manufactured Hollywood figure, his double life, and his great rampant, randy gay sex life that was happening out in the open under a manicured facade. His story unintentionally became a cultural, political, and social catalyst, something I think most people have forgotten.

How did you arrive at the title “All That Heaven Allowed”?

During the entire AIDS crisis, there were several other true activists who were directly impacting and influencing the movement. The term “activist” felt excessive, and I wanted to draw attention to other aspects of Hudson’s life. The title “All That Heaven Allowed” references the classic melodrama Hudson starred in in 1955, a film that exemplifies the traditional Hollywood figure and his subsequent manufactured image.

What do you hope people who are unfamiliar with Rock Hudson take away from the film?

Today’s younger generation may not be aware of who Rock Hudson was. He’s a forgotten Hollywood figure, overshadowed by the likes of Marilyn Monroe and James Dean. Besides his death from AIDS and kissing Linda Evans on “Dynasty” while sick, there isn’t much that people remember about him. My hope is that people will discover a fascinating story about a classic midcentury figure who lived a clandestine life that wasn’t entirely hidden from public view. Additionally, people can learn from his impact on the AIDS epidemic by publicly speaking about his illness, something that was unprecedented at the time.

Do you believe films like this can capture something in the present that may have gone unnoticed in the past?

The telling of any story depends heavily on the method of delivery, and it’s essential to engage both those who know and those who don’t know the subject. The approach we took in terms of deciding who we were going to interview on camera differed slightly. Those interviewed for the film were gay men who were in Hudson’s life, including his lovers, playmates, wing man, co-star, and best friend. They bring a unique perspective to the story, taking viewers on a journey from pre-Stonewall and pre-gay liberation to the other side of the AIDS crisis. The film’s focus is on Hudson’s life through the lens of these men.

Was this approach intentional?

We had limitations on how many days we could shoot, so we had to be strategic. While I would have loved to interview Linda Evans, for instance, I think the footage we have of her tearing up still evokes a genuine response. You also see her and Hudson during their heyday on “Dynasty.”

Do you believe this film speaks to a greater issue of the Hollywood culture and the idea of a double life?

There are undoubtedly several Hollywood figures today who lead double lives, and they have to be even more cautious since everyone possesses a mobile phone camera these days. Confidential magazine was one thing, but it seems trivial in retrospect.

Is it possible that this movie represents more than just Rock Hudson? Does it speak to the idea of returning to an older Hollywood culture?

When Hudson was in his prime, he starred in several excellent films. Movies like “All That Heaven Allows” and “Written on the Wind” are incredibly nuanced and compelling. I can watch “All That Heaven Allows” many times and adore Dorothy Malone’s performance in “Written on the Wind.” Perhaps my next project will explore her.