Richard Barrios, Screened Out: Playing Gay in Hollywood from Edison to Stonewall, p. 327:
Redford may be shortchanging his own performance [in Inside Daisy Clover]. However the character’s sexuality plays out, Wade still comes across as the essence of showbiz egotism: An embodiment of physical beauty so self-contained that sex in any form is just a type of homage, like a good review or a seven-figure contract. With an effortless charm that can come only from deep and conflicted self-adoration, Wade needs to attract everyone. That’s why he lives, and why men like Wade and Cary Grant and Tyrone Power and [Insert name of your favourite star of ambiguous sexuality here] need to become famous. It was true in 1965, it’s true today, and at neither time would it be the kind of role that many up-and-coming proto-stars would be willing to accept.