Julie Newmar, the ultimate Catwoman....I hope

 

"She" was 5'11'', was on Broadway, Hollywood, and television....all troubling signs. "Her" body has that Marilyn Monroe morphology with a hyperacute waist to hip ratio.  I am desperately trying to hang on to this one. 

 Being the signature and appearing in the film, TO WONG FOO, THANKS FOR EVERYTHING, JULIE NEWMAR! is the most damning evidence.

From WIKI

Legacy[edit]

To Wong Foo is considered groundbreaking for being the first mainstream Hollywood production to depict drag queens.^[4][7][42] Rita Kempley of The Washington Post wrote that in comparison to previous films that featured cross-dressing like Some Like It Hot or Tootsie, "The heroines [in To Wong Foo] aren't cross-dressing to escape the mob or to prove a point, they're just being true to their nature."^[43]

In a 2019 retrospective piece about the film, writer Naveen Kumar noted "the film’s language and understanding of gender variance is undoubtedly limited as a product of its time" and that the film "[blended] iterations of queer experience that tend to have clearer distinctions in the real world, and for which we have more nuanced language today."^[25] Among the film's language and concepts that are now considered problematic is the terminology used by the characters to describe the differences in queer identities.^[25][44]

Of the leads being in drag for the duration of the film, some critics said this was an intentional part of the film's camp element. Kumar added, "That To Wong Foo’s drag performances remain completely unbroken throughout the film’s entirety heightens the movie’s extreme emphasis on beauty and artifice" and that the film is very "conscious of its ironies [as] Swayze and Snipes were both box-office draws known for hypermasculine and romantic leading roles; the perceived incongruity of dressing them in drag is part of what fuels the comedy."^[25] In this way, Kumar wrote, "To Wong Foo plays on viewers’ suspension of disbelief (Swayze and Snipes, in particular, are clearly recognizable under their women’s garb)" and that the "movie’s own characterizations tend to blur the lines between drag as a conscious performance and their desire to actually be seen, day and night, as women."^[25]

Of the characters staying in drag, Douglas Carter Beane said his intent was to create an illusion, saying, "It is about fantasy and the illusion. It's about the work that goes into the art form. It was never meant to be an absolutely truthful documentary look at drag.”^[4] The fantasy element can also be seen as "[perpetuating] an idea that transgender identity is nothing but make-believe."^[4] Drag queen Alaska Thunderfuck said that what the film does best is "the camaraderie between the girls... the way they look out for each other and protect one another. The movie also illustrates the transformative power of drag. It helps people become empowered, no matter where they come from or what kind of life they lead.”^[4]

Also appeared on Broadway with Gilligan's Island Ginger, Tina Louise who was 5.9"