Joe Dallesandro

  • Jacques Rivette – Merry-Go-Round (1981)

    1981-1990ArthouseDramaFranceJacques Rivette

    So the story goes: Having completed only two (Duelle and Noroît) of the proposed four films in his quick-succession series Scenes from a Parallel Life, Jacques Rivette found himself hounded by investors and teetering on the edge of sanity. The result: Merry-Go-Round—a fascinatingly nonsensical ramble through the director’s own inland empire, featuring a scruffy Joe Dallesandro, as American abroad Ben Phillipps, and a sleepy-eyed Maria Schneider, as mystery woman Léo Hoffmann, wandering the French countryside in search of the elusive Elisabeth (Danièle Gegauff), the former’s girlfriend and the latter’s sister. Read More »

  • Paul Morrissey – Heat AKA Andy Warhol’s Heat (1972)

    1971-1980Amos Vogel: Film as a Subversive ArtCultDramaPaul MorrisseyUSA

    From Amos Vogel’s Film as a Subversive Art:
    A bizarre, yet mild version of “Sunset Boulevard” a la Warhol, with a bevy of voracious females of varying proportions vying for the casual favors of a passive Joe Dallesandro. The dialogue is fresh, simple, funny, as is the relaxed, improvised acting. Fellatio and demythologized sex make their usual appearance, though – for Morrisey – in a curiously reserved manner. While these desperate people and their always-interrupted sex acts are perhaps too small really to engage one’s concern, Morrisey’s talent for a new, weird kind of naturalism (as in his Trash) now seems fully established. Most notably, sex is both ubiquitous and joyless, an almost inevitable chore that can neither be avoided nor really enjoyed.Read More »

  • Paul Morrissey – Trash AKA Andy Warhol’s Trash (1970)

    1961-1970Andy WarholCultDramaPaul MorrisseyQueer Cinema(s)USA

    From Amos Vogel’s Film as a Subversive Art:
    A high-camp “love story” of an outrageously handsome heroin junkie and his trash-scavenging girlfriend (played by a female impersonator), this film skips from fellatio to seduction to foot fetishism in its attacks on soap opera myths and Hollywood. A playful perversity, an acceptance of the soft underbelly of bourgeois society, a strange poignancy informs this fable of impotence, drugs, and sex. In the climactic love scene, the hero — remaining impotent — suggests to the lusting “girl” — reclining on a rumpled bed among objects gathered from garbage cans — that she use a beer bottle instead; she does, while he solicitously inquires whether she is coming, then holds her hand and promises to do better next time. In a second scene, she accuses him, in rage, of not even letting her “suck” him off. What with an antiwar Welfare worker revealed as a malignant foot fetishist, assorted females as sexual aggressors against the forever innocent male, drug-fixes or penises casually displayed, the mounting intrusions upon the viewers’ value system mark this as a truly seditious work.Read More »

  • Paul Morrissey – Blood for Dracula (1974)

    1971-1980CultHorrorItalyPaul MorrisseyQueer Cinema(s)

    Udo Kier is without a doubt the sickliest of vampires in any director’s interpretation of the Bram Stoker tale. Count Dracula knows that if he fails to drink a required amount of pure virgin’s [pronounced “wirgin’s”] blood, it’s time to move into a permanent coffin. His assistant (Renfield?) suggests that the Count and he pick up his coffin and take a road trip to Italy, where families are known to be particularly religious, and therefore should be an excellent place to search for a virgin bride. They do, only to encounter a family with not one, but FOUR virgins, ready for marriage. The Count discovers one-by-one that the girls are not as pure as they say they are, meanwhile a handsome servant/Communist begins to observe strange behaviour from the girls who do spend the night with the Count. It’s a race for Dracula to discover who’s the real virgin, before he either dies from malnourishment or from the wooden stake of the Communist!Read More »

  • Serge Gainsbourg – Je t’aime moi non plus AKA I Love You, I Don’t (1976)

    1971-1980DramaFranceQueer Cinema(s)Serge Gainsbourg

    Serge Gainsbourg’s Je T’Aime Moi Non Plus, the iconic singer-songwriter’s 1976 directorial debut, is on the surface the story of a love triangle. But nothing about this film is conventional. It’s set in an almost postapocalyptic wasteland that’s supposed to be somewhere in the American Midwest, if the signage and the locals’ penchant for fractious roller derbies is to be believed. (There’s even a visual joke that seems to riff on John Boorman’s Deliverance.) Two sides of the triangle are gay garbagemen, while the third is a boyish truck stop waitress. And Gérard Depardieu puts in a glorified cameo as an amorous hayseed who’s just a little too much into his horse.Read More »

  • Paul Morrissey & Antonio Margheriti – Flesh for Frankenstein (1973)

    1971-1980CultHorrorPaul MorrisseyPaul Morrissey and Antonio MargheritiUSA

    In Serbia, Baron Frankenstein lives with the Baroness and their two children. He dreams of a super-race, returning Serbia to its grand connections to ancient Greece. In his laboratory, assisted by Otto, he builds a desirable female body, but needs a male who will be superbody and superlover. He thinks he has found just the right brain to go with a body he’s built, but he’s made an error, taking the head of a gay aesthete. Meanwhile, the Baroness has her lusts, and she fastens on Nicholas, a friend of the dead lad. Can the Baron pull off his grand plan? He brings the two zombies together to mate. Meanwhile, Nicholas tries to free his dead friend. What about the Baron’s children?Read More »

  • Walerian Borowczyk – La Marge AKA Emmanuelle ’77 (1976)

    1971-1980EroticaFranceWalerian Borowczyk

    The Margin (French: La Marge, also known as The Streetwalker and Emmanuelle 77) is a 1976 French erotic drama film written and directed by Walerian Borowczyk and starring Sylvia Kristel. It is loosely based on the novel The Margin by André Pieyre de Mandiargues.Read More »

  • Fernando Di Leo – Vacanze Per un Massacro aka Madness (1980)

    1971-1980ActionExploitationFernando Di LeoItaly

    The film was based on a subject by Mario Gariazzo, a director who in the seventies, gravitated into the orbit of Daunia and to whom Fernando di Leo “lent a hand” by offering advice for his script – for his detective film, The Bloody Hands of the Law – and for the production of his western, Holy Water Joe and the tear-jerker, The Balloon Vendor, a story vaguely inspired by William Wyler’s famous film, The Desperate Hours. At the start it was Gariazzo who was to direct it but at the producers’ insistence he was finally replaced by di Leo.Read More »

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