American Swinger (2008) directed by Jon Har & Matthew Kaufman

 In the 1970s Larry Levenson decided to open a straight sex club in New York at the Continental Baths with had been a gay bathhouse that had hired the likes of Bette Midler and Barry Manilow at one point. Soon the place was called "Plato's Retreat" and it became infamous. 

The film is, rightly, mostly about Levenson and his obsession with being some sort of king of the sexual revolution. Have taking over the gay club he immediately forbid sex amount the male guests (women on women was perfectly fine, of course) as well as alcohol, drugs and prostitution. These restrictions proved hard to enforce and honestly they didn't seem to make make of an effort making the place a haven for drug use and prostitutes. His plan was to open Plato's Retreat all over the United States, which never happened and the original club was eventually plagued by tax fraud and the changing policy landscape which included the rise of AIDS in the 1980s. 

The documentary is well done, I learned a lot about this famous club. It also has a few clips from Levenson and his then wife being interviewed by Phil Donahue which did nothing if not reinforce what a shitty, mean spirited and exploitative show he had. The directors show the many ides of the sexual revolution but despite all the talk of freedom and acceptance of non tradition (heterosexual) lifestyles - I have to say it comes across pretty clearly that the high minded "sexual liberation" was certainly a thing for many of the club goers but there was an overarching feeling that this place was more than a little sleepy and exploitive as well. 

I found it interesting to see how AIDS affected the straight sex scene in the 80s as most times AIDS is mentioned, if not every time it's only about the gay community's experience with it. The people interviewed show how far their heads were in the sand about the danger and how easy it was for straight people to buy into that a disease could only effect gay people and not them. One woman highlights this and states she realized she was only still alive by sheer luck and not all her friends from the time were not so lucky. 

This is an interesting view of the sexual revolution that lets you decide what to think of the players in the Plato's Retreat saga.

Gods and Monsters 1998 Directed by Bill Condon

Before Ian McKellen was Magneto and Gandalf and before Brendan Fraser was fighting mummies, they along with Lynn Redgrave, starred in a film about the end of the life of renowned director James Whale who had made many films but was most known for the Karloff Frankenstein and Bride of Frankenstein. The project was based on the book Father of Frankenstein by Christopher Bram. The book was also adapted into a play at one point and it’s easy to see why, it’s a wonder story, not historically accurate or even really a biopic by any means, but a character study of Whale. Fraser play Whales gardener who befriends him, despite Whale’s homosexuality which wasn’t exactly  considered a positive character trait at the time. Redgrave shines as the housekeeper and bears a strong resemblance to Igor in the Frankenstein films, not just by her devotion to the aging director but in some physical traits as well. 

I don’t think anyone would be surprised at how good McKellen and Redgrave are in their roles but Brendon Fraser is really excellent in his part. He looks it, handsome and sexy but not out of place for the epoch in which the film takes place. It’s a shame artistically he didn’t pursue more challenging and interesting parts as time went on. Monetarily it’s pretty obvious he made the right choices but he shows real signs of being able to grow into a great actor in this movie. 

All in all, the story of a gay, almost forgotten filmmaker/artist who is all too aware that his faculties are leaving him and haunted by his fragmented memories not just of his career and youth but of the horrors of World World 1 which he experienced first hand is compelling and touching. While fictitious, the character of the gardener works well as the person who in effect takes us through this story and Fraser does it with charm and real emotion.

The film still evokes an emotional response and if you can find it, read the book as well. The book and film are not completely different, but different enough for one to enhance the appreciation of the other. 

THE SCREAMING WOMAN (1972)

It seems I was not the only 5-year-old terrorized by this Movie-of the-Week (which happened to be on when my teen brother and teen uncle were babysitting me). The intro screams and the shadowy figure of the lady buried alive saying "help me, help me" was all I needed to see/hear to send me cowering under the covers praying for mommy to get home.




The Screaming Woman is a 1972 American television film starring Olivia de Havilland and directed by Jack Smight. It is loosely based on a short story by Ray Bradbury (which in turn was based on his 1948 radio play for the CBS show Suspense) with a script written by Merwin Gerard.  It features John Williams's last score (to date) for a TV movie.

A wealthy former mental patient goes home to her estate to rest and recuperate. While walking the grounds one day she hears the screams of a woman coming from underneath the ground who has been buried alive.


check out this fun site  KINDERTRAUMA.com

Finding Mr. Goodbar

Over at the always fab FINDADEATH.COM there is a summary of the real victim of the "Goodbar" murder.

Click here to see photos of the victim's singles bar haunt on 72nd Street (now) and screengrabs of the SNL 1977 skit advertising the "LOOKING FOR MR. GOODBAR SLEEPYTIME PLAYSET" where (as the announcer tells Gilda Radner playing a child) every little girl can "win" by "getting killed".

The film is currently out of print on VHS and has never been released on DVD/Blu Ray (Is the studio too cheap for pay for the disco music rights featured in the film?)

Watch the clip below if you've forgotten how great young Richard Gere looked in a jockstrap.



The next clip is the title sequence with the theme song.

What a Hack !!

Shelley Hack became famous for her 70s Revlon CHARLIE perfume commercials in which she sauntered through glamorous hotel lobbies and into limos to a catchy jingle - which made Charlie the #1 scent in the world with $1 billion in sales for 1977. It sold 70s glamour and freedom in a bottle.

Here's a clip of her with The Velvet Fog crooning the jingle.

Hack grew up in Greenwich Connecticut - daughter of a Wall Street financial analyst father and ex-stewardess/model mother. The eldest of 6 children, Hack graduated from Smith College with a degree in history.

People Mag offered this tidbit:
She moved into a third-floor walk-up in Greenwich Village, signed full-time with the Eileen Ford model agency and took acting lessons at the Herbert Berghof Studio. "My father encouraged me to invest my money," Shelley remembers. "As far as he was concerned, I was in business—the business of selling my face." She sank her earnings into a 244-acre farm in New York's Catskills. "It's dairy country, not chic," she says. "It's a nice contrast to put on my barn clothes and go out and slosh." 

This high profile, high paying modeling gig led to one lackluster season replacing Kate Jackson on the withering Charlie's Angels (her debut episode featured the Angels going on the Love Boat cruise ship to solve a crime. Bring a Book. Snoozefest.)

Producers thought she was a perfect choice to play the sophisticated "classy" angel from Boston named Miss Tiffany Welles.

"Maybe the show will make me a star overnight, maybe it won't."

Hack may have hated the weak writing -or- the network brass critiques because by season's end she was emoting with all the dull or defiantly aloof delivery of a bored 8th and final season Elizabeth Montgomery on Bewitched. Her contract option was not picked up by ABC and she left the Angels for good.

In 1982, Hack was perfectly cast as the fabulously bright and refined network TV assistant Cathy Long in The King of Comedy. She is pitch perfect in her lobby scenes with Rupert Pupkin. As the script details, she is the epitome of "strained politeness".

                  PUPKIN
     Are you speaking for Jerry?

                 CATHY LONG
     Let's put it this way, Mr. Pupkin.
     Mr. Langford has complete faith in
     our judgment.

                 PUPKIN
     I'm sorry to have to say this, Miss
     Long, and I certainly don't want you
     to take it personally, but I have to
     tell you that I don't ... I don't
     have faith in your judgment.

                 CATHY LONG
     Well, I'm sorry you feel that way,
     Mr. Pupkin. But I'm afraid there's
     nothing that can be done about that.

                 PUPKIN
     No ... No ... I'm afraid I'll have
     to disagree with you again.

                 CATHY LONG
           (with strained politeness)
     That's your privilege, Mr. Pupkin.
     Now, if you'll excuse me, please, I
     have some things to do. I'm sorry
     the news isn't better.

CATHY LONG turns to go.

                  PUPKIN
     Miss Long?

CATHY LONG turns back.

                 PUPKIN
     When are you expecting Jerry in?

                 CATHY LONG
     He won't be in until very late this
     afternoon.

                 PUPKIN
     That's fine. Thank you.

Starting in 2000 and for the next decade, Hack became founder and president of Shelley Hack Media Consultancy (SHMC), a company primarily involved in media consultancy for pre- and post-conflict countries. Her company worked on projects to transition Bosnian State television to a public broadcaster, as well as producing Bosnian TV political debates and providing media training for Bosnian politicians.

In the last few years, Hack has been popping into the Autograph Convention circuit and gladly signing autographs and posing with fans - for  a small fee.

Shelley Hack is married to TV director Harry Winer and they have a 21-year-old daughter.
You want to see a photo of their PRIDE and JOY ?   (thanks Rupert)

"When I diet, I diet. And when I orgasm, I orgasm." - Liz Taylor

Elizabeth Taylor is in The Driver's Seat. 
Mentally disturbed spinster Lise experiences a series of bizarre encounters in Rome as she searches for someone to murder her.

Hello, I'm Shelley Duvall!

Maddening, isn't it?

"If it was any fresher..."

THE LOOK - Brady style

Extreme Makeovers '79

I beg you to click on Poseidon's Underworld hysterical blog recap of the 1979 melodrama/love story called THE PROMISE.

The film's love birds are Stephen Collins (TV's Tales of the Gold Monkey; 7th Heaven) and foxy Kathleen Quinlan (Lifeguard; Twilight Zone: The Movie 3rd segment 'Helen Foley/It's a Good Life remake).

Beatrice Straight ("Dr. Lesh" from Poltergeist) is the evil mom of rich boy Collins who hates his commonor girlfriend (Quinlan is hagged up in the first half). Mom pays for Quinlan's post-car accident facial surgery if she vows to stays away from her son. And then the drama begins...




Melissa Manchester sang the theme song ('I'll never say goodbye"). 1979 was big for Missy - she also did the Ice Castles film theme. Now that I think of it - the two '79 films would make a great tortured love double feature.

Please have a peek at this recap of The Promise:

Orson Welles - Paul Masson Wine Ad Drunken Outtakes

It's such a damn shame but I suppose, in many respects, he did it to himself. It's not even funny, really. Just a glimpse into the twisted demise of one of the greats. He was probably living on Peter Bogdanovich's couch at this point.

How did you celebrate A-M's 69th ?

Yup - she is a darling 69 ...I hope I didn't "spill the beans." Watch this interview of A-M talking Tommy.

Carroll O'Connor - remembering you

John Carroll O'Connor was born to a school teacher Mother and lawyer Father in an affluent family in Forest Hills , Queens NY. He grew up with his 2 brothers (one became a lawyer and one a psychiatrist) and played a lot of baseball with the neighborhood kids. He was often called "Fat" or "Chub". O'Connor adored going to movies and idolized the film stars of the 1930s and 40s. He said he never imagined being a part of their world - he just wanted to continue admiring them. His well-to-do educated background led him to college in Ireland where he planned to be a writer, historian and teacher. After acting in a few college plays for fun - he was so embraced and mentored by the seasoned English and Irish actors - he decided to stay in the profession "out of sheer flattery". He said "I wanted to stay with these people who had been so generous and welcoming to me."

Carroll ( as he was always called by his Mother) worked in a few studio films and live TV and in 1970 was given the role of his career: a Queens blue-collar bigot named Archie Bunker. (you can hear all about the genesis of the character, 3 pilots and his dislike for Norman Lear who hardly ever gave him writer credit for his weekly re-writes and improv and certainly never gave him a piece of the spin-off shows - at this link)

The complete 8 part interview is here

Carroll O'Connor had a brilliant mind and acting craft, and his character Archie Bunker became beloved by audiences all over the world. Liberals and bigots alike could appreciate the struggles and buffoonery of the character.

“That was Archie. All his preconceptions keeping him from enjoying life. That was my message. Because Archie never enjoyed anything. Something was poisoning life for him. He didn’t realize that [it] was from inside of himself. His (abusive, bigoted) father had passed on the poison.” - Carroll O'Connor



For 8 seasons on All in the Family and 5 more on Archie Bunker's Place - the character grew and changed and showed his pain and heart. When Jean Stapleton left the role - her character was written off by death. Archie helped America grieve. Jean Stapleton was on the road doing a play when it aired - and said she watched and admired his performance. The next day, the hotel maid came in and saw Jean and almost fainted ( "I thought you were DEAD!")



It was hard for fans to see Carroll O'Connor- the public figure devastated by the drug overdose death of his adult son, Hugh. Carroll followed him in death not long after.

In 1977, Carroll O'Connor played a big city mayor in a TV film (that he also wrote) and came by The Tonight Show to discuss the project with guest-host Frank Sinatra. The intelligent and urbane conversation displayed on the Tonight Show sofa is something this is long gone today.



Carroll O'Connor became friends with many of his childhood film idols like James Cagney.
O'Connor wrote, produced and starred in another successful series In The Heat of The Night (1988-1995)

In 1998, he wrote his autobiography titled "I Think I'm Outta Here" - hundreds of fans lined up at his book signings to meet the man they had been entertained by for decades. The O'Connors spent lots of time with their grandson, Sean.

I leave you with Carroll O'Connor singing the closing theme song - with lyrics that he wrote.




Rest in Peace, Carroll O'Connor. Your talent and charm and wisdom and heart made this world a better place.

Angels' Wild Women (1972)

It’s cult director Al Adamson’s surreal mish mash of bikers and brawny chicks on the run. Try to imagine Easy Rider and Helter Skelter meet a half dozen Russ Meyer films edited together by a madman with the essential points of the storyline excised for time constraints and you’ll start to get the idea.

The movie opens with a frantic black woman running through the hills trying to evade a couple of racist rapists. The men make a point of telling her exactly how they feel about the civil rights movement before wrestling her knife away and pinning her down. Cut to our hero Speed, played by Ross Hagen, cruising through the desert on his hog with his girl Donna in tow. They are on the way to the set of some sort of Nazi war film production where one unfortunate crew member tries to make a move on Donna. Speed don’t like it and fists fly. Cut back to the aftermath of the rape scene where the “wild women” arrive and exact vengeance on our non-progressive-thinking perpetrators.

After a few more fights, some bike chases and the entrance of the pill-pushing Preacher the film disintegrates into a montage of super wide-angle motorcycle stunts, creepy heartfelt introspective monologues, involuntary I.V. drug use and a sort of Manson family type subplot that is nearly impossible to follow. The overuse of the super wide lens gives it a hypnotic acid trip feel that is compounded by dialogue looping that is as bad as any low rent kung fu movie. Throw in a funkadelic soundtrack and it's an exploitation kaleidoscope that will make you dizzy.

Daddy's Little...kidnapped sex slave

The Pitch: A sweet innocent teen gets mad at parents and runs away with her boyfriend only to be nabbed by porn producing, flesh peddling pimps. Ex-cop Dad must search high and low through pages of cliches to rescue his baby girl.

In celebration of the upcoming NEW "cop Dad searches for clues about his daughter" film EDGE OF DARKNESS starring Der Fuehrer Gibson - hot on the heels of Liam Neeson's surprise box-office hit TAKEN (Eurotrash pimps kidnap American gals)-- I wanted to remember that these themes were covered 30 years ago in George C. Scott's HARDCORE.

Here is the scene where disguised Dad meets porn star "Big Dick Blacque" in Hollywood.



Ps -- No matter how much ass Dad kicks in the end... there is some subtle cuckold fetish angle that must appeal to the studio suits who green-light these films again and again.

Charles Bronson lets it all hang out.

A few ads for a Japanese cologne circa the 1970s. A side of Bronson that you've never seen before....

I Just Took A Ride In A Smoochball Machine

Knights of Cydonia

This song by Muse has been out for a while, but I watched the video for it again the other day and realized that it's the best homage to the absurdity of 70s Italian cinema I've seen in a long time. Enjoy!

"Is that so unbelievable - to believe?"

Sylvia Miles vs. Pat Ast -- ogling Joe Dallesandro in Andy Warhol's HEAT.

God Bless the late Pat Ast - she could adlib dialogue like nobody else.





"Here we are talkin' chum to chum."

"Whaddya mean what do I mean?"

Guess which one ? - Mary Lou or Squeaky ?

Guess which one?
Mary Lou Metzger of the Lawrence Welk musical family or Lynette 'Squeaky' Fromme of the Manson Family ??

-----------------------



One partnered with Sandra Good and the other partnered with Sandi Griffiths.

One's boss advocated taking Geritol, the other's boss advocated taking LSD.

One’s favorite color is RED, while the other was nicknamed “Red”.

One appeared on The Lawrence Welk Show in the 50s – the other started appearing on Welk in 1970.

One felt a kinship to former bassist Jimmy Page, while the other became close to bassist Rich Maloof.

One does TV wrap-arounds, while the other used to wear hair wrap-arounds on TV.

One is famous for being 'shot out of a cannon' while the other is famous for shooting out of .45 colt pistol.

One once attacked a cellmate with a hammer, the other once sang “If I had a hammer”.

One broke out in a TV debut on Mother’s Day 1970, the other broke out of prison on Christmas Day 1987.

One lives in the Valley, the other lived in Death Valley.

One worked under director George Cates, the other was directed to work under George Spahn.

One appeared on Time magazine, the other appeared on time in Branson shows.

One was child actress in the National Tour of The Music Man, the other was a child dancer with the Westchester Lariats.

One was the favorite of a band leader, the other was the favorite of a cult leader.

One sings Please Release Me, Let Me Go – the other is pleased to be released from jail on August 16, 2009.