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The Nuntius & Our Community, Vol. 3, No. 10, October 1972
File 008
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The Nuntius & Our Community, Vol. 3, No. 10, October 1972 - File 008. 1972-10. University of Houston Libraries. University of Houston Digital Library. Web. December 4, 2020. https://digital.lib.uh.edu/collection/gcam/item/3505/show/3487.

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

(1972-10). The Nuntius & Our Community, Vol. 3, No. 10, October 1972 - File 008. Gulf Coast Archive and Museum (GCAM) Digital Archive. University of Houston Libraries. Retrieved from https://digital.lib.uh.edu/collection/gcam/item/3505/show/3487

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

The Nuntius & Our Community, Vol. 3, No. 10, October 1972 - File 008, 1972-10, Gulf Coast Archive and Museum (GCAM) Digital Archive, University of Houston Libraries, accessed December 4, 2020, https://digital.lib.uh.edu/collection/gcam/item/3505/show/3487.

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

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Title The Nuntius & Our Community, Vol. 3, No. 10, October 1972
Contributor
  • Frank, Phil
Publisher City Art Studio
Date October 1972
Language English
Subject
  • LGBTQ community
  • LGBTQ people
Place
  • Houston, Texas
Genre
  • newspapers
Type
  • Text
Identifier OCLC: 28912012
Collection
  • University of Houston Libraries Special Collections
  • LGBT Research Collection
  • Gulf Coast Archive and Museum (GCAM) Digital Archive
Rights No Copyright - United States
Note This item was digitized from materials loaned by the Gulf Coast Archive and Museum (GCAM).
Item Description
Title File 008
Transcript Actors, story excel in'DeviI in the Flesh' It probably won't ruin the enjoyment of Devil in the Flesh for those of you that will be seeing this new gay film if we come right out and tell about the murder near the end of the picture. This particular scene is also used as a prologue before the titles, so audiences will be aware from the very beginning that this character will be killed, although the identity of the murderer is not revealed until the final reel. Mark Taylor plays a rich, calculating young man who regards his lover, Brian Reynolds, merely as a sex object and another material possession. Reynolds feels, and rightly so, that he deserves better, so he has a little thing going on the side with a hustler, Van Stewart. Reynolds is not the shrewdest judge of character. Stewart is also playing him for all he can get. With a setup like this, it's only a matter of time until the situation explodes and one of the three is murdered. Keeping in mind this film is made for a specialized market, where movies are measured by their sexual content first and story values second, it is a pleasure to report that Devil in the Flesh integrates its sex with the plot so cleverly, it isn't until it's over that we realize there was plenty of sex, but it was the story that kept us engrossed. The film didn't come to a screeching halt while the actors got their rocks off. The sex emphasized the development of each character's personality and advanced the plot instead of acting as a requirement. Devil in the Flesh could be the sleeper hit of the year. It has rapid pace, good performances, and excellent photography by Barry MARK TAYLOR Knight. The film is in black and white. Color is not necessary, in fact, this type of story is probably better told without color. A more ominous mood is created. The .actors pay as much attention to their lines as their loins, for a change, and the original screenplay by Gorton Hall has provided them with dialog they feel comfortable speaking, and it shows. Brian Reynolds registers in a sensitive role and Mark Taylor, who starred in the recent Come of Age, is effective as his lover. Perhaps Taylor plays his role a little more fortissimo than the others because of his stage training, but it's in keeping with the character. Vaughn Avant and writer Hall also appear as police detectives. One thing that caught our eye in Come of Age was Mark Taylor's telephone scene, and how easily and naturally he handled it. He has three of them in Devil in the Flesh, each better than the one before. If this continues, he'd better start composing award acceptance speeches. After all, look what the telephone did for Luise Rainer. The big surprise was Van Stewart's performance as the hustler. He steals the picture from the rest of the cast. Stewart also appeared in Intimate Rebels, and nothing about that picture gave the slightest inkling he could even act. In our review of Rebels, we mentioned the hope of viewing the actors involved under better circumstances, and we can't imagine any better circumstances than those in which Stewart finds himself in Devil in the Flesh. He is a revelation, nothing less, and his ability to underplay, and yet strike the crucial chords in his scenes, makes his pivotal role the most memorable of the whole film. We don't know if this can be attributed to his director, Roger Marks, or if it is Stewart's own resources that other directors have failed to tap. Whatever the case, now that it's been proven that he is an actor of considerable talent and dimension, let's hope his future films will make better use of his abilities. (mi • PERSONAL INTRODUCTIONS • SCREENED MEMBERSHIP . MEET NEW FRIENDS • OVERCOME HANGUPS • GET INVOLVED . SAFE & DISCREET . 18-80 A «COf» Get involved NOW!! FOR GAY Send Now! Tired of the bars? I Find out why more people are getting involved with the new CIRCtE OF FRIENDS THE CIRCLE OF FRIENDS 6146 ST. MORITZ • DALLAS, TEXAS : 75214 j'm interested in learning • more about the Cof Organization • and how I can expand my social life. 4 / enclose $1.00 for postage and han- MEETS TWICE A MONTH • Name • Address _ • Zip _*9«>_ 'Other Side of Joey' The Other Side of Joey, the latest release from Jaguar Productions, is notable on two counts. First, it continues screenwriter Gorton Hall's campaign to invest male porno flicks with more than just a grunt and a groin, and it serves nicely to reintroduce youthful Erik Kahnler (Reflections of an Indian Boy). ■At some point in the past. Jaguar "Productions seems to have cautioned itself that from now on its products would have sex and a plot. Naturally, many habitues of the genre will ask, "What's a plot?" But this doesn't deter filmmaker Hall, whose stamp is clearly on this newest effort as it was on its predecessor, Devil in the Flesh. Joey is lyrical, has a somewhat melancholy simplicity, and will appeal strongly to romantics. There are no sensational bodies on view if muscie, bulk, and protruding veins are the viewer's bag, but the flesh is friendly, often sizzling, and the performers look like real people. The film's opening footage is the weakest. In prologue, Gordon Harris' voice-over wonders how in hell he happened to fall in love with a young Ganymede (Kahnler). Next follows a long sequence of Kahnler and Harris in the sack doing all the same old things in the same old way. Since the audience really doesn't know who the characters are, and the music that travels along with their huffing and puffing is garish-sounding and inappropriate, Joey promises to be a bore. Once that tedious opening is out of the way, however, things take a fast upbeat. Harris has mixed emotions about the affair. He wants Joey, and he doesn't, and is annoyed when the youngster doesn't think and act like an adult (probably the very qualities that attracted him to Joey in the first place). Joey, who has a nervous tendency to work out every emotional problem with the aid of a mattress, makes it with an ex (Elliott Crawford), a prick who wants to get even with Joey for leaving him. He calls up two buddies who are into the S&M trip, interrupting them as they are watching a fuck flick on their own time (nice touch). Breathing hotly, they show up and work Joey over, albeit not enough really to turn on the pain for pleasure crowd. These shots are intercut with scenes of Harris at the office daydreaming about happy moments he shared with Joey. The flashbacks give the film an emotional lure. Certain that he's been had from every direction, Joey returns home convinced that he's something to be used. He doesn't dig the knowledge. So, like Salinger's Holden Caulfield, he decides to blow. Harris returns, and there's a damn good scene here: Joey not wanting to go; Harris wanting him to stay; and neither one of them ready to take the first step toward reconciliation. When they both decide to stop playing games, the effect is heart-tugging. It's refreshing to see two guys deciding to make something work, rather than searching for all the dubious reasons that their relationship will flounder. So, the story's both innocent and bittersweet. Kahnler falls into the category of'Chicken Delight, and hawks will find him tasty. In the acting department, he develops signify *3 cantly as the film progresses. He has a certain seraphic quality that he uses to good advantage. His lissome grace works, and he handles the sexual fianky-panky with an easygoing manner. The small supporting cast acquits itself in fine fettle. Besides Harris and Crawford, both of whom do well, there's William Maxwell as the leather-clad messenger of latent machismo. James Fuller, with the wildest hairdo this side of Orphan Annie, scores as his sidekick. Roger Marks handles the lens work capably. The Other Side of Joey, culminating as it does with both part- ^ ners getting an indication of what they truly want as opposed to what each thinks he'd like to have, opens up a new field--an approach to maturity. Emotional growth in a cock opera? What next? J. Moriarty THE ABOVE MOVIE REVIEW WAS TAKEN FROM THE ADVOCATE, LOS ANGELES, AT THE REQUEST OF OUR ADVERTISER. Page 7
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