Film

Victor/Victoria

A Blake Edwards musical comedy set in 1934 Paris, where a broke soprano (Julie Andrews) reinvents herself as a female impersonator — a woman playing a man playing a woman — to land cabaret work. It's glossy, generous farce with real wit, gorgeous production numbers, and a surprisingly gentle touch on gender and desire decades before that was fashionable. Best for anyone craving old-Hollywood polish with a knowing wink.

TMDb rating7.3

If you liked this

Some Like It Hot1959

The gold standard of cross-dressing comedy, sharper with every rewatch, and it more or less invented the disguise-farce grammar Victor/Victoria borrows so happily. Wilder's timing is unmatched.

But Black and white, jazz-age slang, and a vaudeville pace that some modern viewers find slower than expected.

Some Like It Hot poster

Tootsie1982

Same year, same disguise-for-survival engine, seen from the other side of the mirror — an actor becomes a woman to get work, with real tenderness beneath the farce.

But Some of its gender politics feel of-their-time now, even as the craft and warmth still hold up.

Tootsie poster

La Cage aux Folles1978

A French farce about a drag club owner and his partner, warmer and raunchier than its American remakes, sharing Victor/Victoria's joyful faith that performance can be identity.

But Subtitled, and its broad comic rhythms belong distinctly to 1970s French boulevard theatre.

La Cage aux Folles poster

The wildcard

Something you would not have found on your own.

Paris Is Burning1991

Where Victor/Victoria treats gender-play as glamorous farce, this shows the same impulse — performing another gender to be seen, loved, employed — as lived reality with real stakes.

A documentary about Harlem's drag ball scene, where gender performance is art, competition, and survival rather than a plot device — the real world underneath the fantasy.

But No music-hall gloss or romance here — it's raw and rooted in real hardship, a genuinely different kind of watch.

Paris Is Burning poster
More like this (7)

Mrs. Doubtfire1993

Robin Williams in a dress, doing chaotic-dad farce instead of cabaret glamour — proof the disguise-for-love formula bends into any decade, genre, or level of absurdity.

But Broader and sappier than Victor/Victoria, and pitched squarely at families rather than sophisticates.

Mrs. Doubtfire poster

Cabaret1972

Another Weimar-adjacent nightclub musical toying with gender and desire, but darker — the glitter curdles as the Nazis rise, giving the numbers real teeth beneath the sequins.

But Considerably bleaker and more political; this is not the comfort watch Victor/Victoria is.

Cabaret poster

The Adventures of Priscilla, Queen of the Desert1994

Three drag performers cross the Australian outback in a bus, turning costume and performance into survival, defiance, and joy — the cabaret spirit let loose outdoors.

But Rowdier, more explicit, and less interested in a tidy romantic ending than Victor/Victoria.

The Adventures of Priscilla, Queen of the Desert poster

Yentl1983

Barbra Streisand disguises herself as a man to study Torah, another period musical built entirely on gender masquerade, sung with total, unembarrassed conviction throughout.

But Streisand's vocal-heavy earnestness is a very different flavor from Edwards' light, urbane comic touch.

Yentl poster

Kinky Boots2005

A struggling shoe factory is saved by a drag queen designer — the same big-hearted idea that performance and acceptance go hand in hand, told as gentle British comedy.

But Lower budget and less musical spectacle, pitched more like sitcom than glossy studio romance.

Kinky Boots poster

The Sound of Music1965

See Andrews at her most beloved before she went subversive — the leap from wholesome governess to gender-bending cabaret star is one of the great screen reinventions.

But Wholesome and family-friendly, about as far from cabaret naughtiness as a musical can get.

The Sound of Music poster

I Was a Male War Bride1949

It's the mirror image of Victor/Victoria's premise — a man forced into drag for practical survival rather than a woman playing a man — same comic machine, running backwards.

Cary Grant, thoroughly exasperated, has to dress as a woman to clear military red tape and stay with his new wife — the same gag, flipped, played for total slapstick.

But A very much postwar farce, broader and creakier than Edwards' more urbane comic timing.

I Was a Male War Bride poster

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