Wikipedia: A Song of Love (French: Un chant d’amour) is French writer Jean Genet’s only film, which he directed in 1950. Because of its explicit (though artistically presented) homosexual content, the 26-minute movie was long banned and even disowned by Genet later in his life.
The plot is set in a French prison, where a prison guard takes voyeuristic pleasure in observing the prisoners perform masturbatory sexual acts. In two adjacent cells, there is an older Algerian-looking man and a handsome convict in his twenties. The older man is in love with the younger one, rubbing himself against the wall and sharing his cigarette smoke with his beloved through a straw.
The prison guard, apparently jealous of the prisoner’s relationship, enters the older convict’s cell, beats him, and makes him suck on his gun in an unmistakably sexual fashion. However, the inmate drifts off into a fantasy where he and his object of desire roam the countryside. In the final scene, it becomes clear that the guard’s power is no match for the intensity of attraction between the prisoners, even though their relationship is not consummated.
Genet does not use dialogue in his film, but focuses instead on close-ups of bodies, on faces, armpits, and penises. The film’s highly sexualized atmosphere has been recognized as a formative factor for works such as the films of Andy Warhol.
WATCH THE VIDEOS AFTER THE JUMP…
CANNES – Nothing I’ve seen at Cannes so far — not even the current Palme d’Or favorite, Hirokazu Kore-eda’s button-cute parenthood drama “Like Father, Like Son” — has, to my ear, pushed the end-credits clap-o-meter quite as far into the red as Alain Guiraudie’s Un Certain Regard entry “Stranger by the Lake.” Elated whoops and whistles greeted this minimalist French thriller’s final fade to black: not the reaction you’d usually expect from a civilian festival crowd for a work of such sleek, stark nihilism as to prompt visions of Robert Bresson adapting Patricia Highsmith. All of which leads me to at least one conclusion: audiences out there are really starved for gay sex.
Yes, “Stranger by the Lake” features more graphic man-on-man action on screen than you can, er, shake a stick at, granting it an immediate festival-world notoriety that will dissipate swiftly as many distributors simply cast it into the “unreleasable” pile. But while some will deem the film barely distinguishable from gay pornography, its surfeit of explicit sex scenes has a function beyond base titillation (though, let it be said, there’s plenty of that too). If many films have put the practicalities and politics of casual sex to more rigorous examination on film in recent years, I either haven’t seen them or napped through a lot of the subtext in “Hitch.”
The setting — from which the film never strays over a timespan of several days, lending proceedings an oddly airy claustrophobia — is a picturesque lakeside cruising ground in rural France, frequented by a small but restlessly circulating crowd of gay regulars and holidaymakers, who turn up on a daily basis for a spot of (in ascending order of importance) swimming, sunbathing and al fresco shagging in the rough woodland behind the beach.
New to the scene is Franck (Pierre Deladonchamps), a handsome twentysomething more in the market for a partner than a sex buddy, but taking his chances in the meantime. His best chance, as he sees it, arrives in the form of Michel (Christophe Paou), an older, mustachioed swimmer on whom Franck becomes inordinately fixated. Michel is immediately flirtatious, though initially beholden to another sex partner; that only further stokes the younger man’s desire, which doesn’t waver even after, one balmy summer evening, he witnesses Michel murdering his mate in broad moonlight.
Franck tells no one what he has seen — least of all Michel himself, with whom he willingly enters a steamy no-strings commitment, built on bareback intercourse and never leaving the confines of the cruising ground. The threat of murder proves a sufficiently powerful aphrodisiac for Franck to pursue a deeper relationship with Michel. Persistently rebuffed, he instead fosters a sexless companionship with chubby, closeted beach patron Henri (an excellent Patrick D’Assumcao), whose suspicions about the psychotic Adonis edge ever closer to the truth — as do those of the police inspector who begins sniffing around when the corpse of Michel’s last victim washes ashore.
This is already far too psychologically cumbersome to qualify as porn: porn noir might be closer to the mark, given how Guiraudie’s stylish thriller framework plays the dangers of rough sex against its oneiric allure. One may choose to see Franck’s outlandish fatal attraction as an allegory for more widespread hazards of homosexuality: if repeatedly hooking up with a known murderer doesn’t kill him, having regular unprotected sex with a known player might do the trick in the long run. Not that Guiraudie and cinematographer Claire Mathon — whose luscious, sun-dappled but eerily remote widescreen compositions plant the entire film in an uncertain Eden — are passing judgement too harshly on these bronzed transgressors, nor those who delight in watching them. Hot and cold and provocative in more than just the expected ways, “Strangers by the Lake” presents even the most dishonest sex as an honest thrill.
Documentary filmmaker Sara Lamm explores the life of the mental institute escapee, master soap-maker, and self-proclaimed rabbi whose all-natural soap would become a counter-culture cleaning product sensation and a staple of health food stores everywhere. In 1947 – after emigrating to the United States from Germany in order to escape the Third Reich and fleeing from a mental institution where he was forced to endure electroshock therapy – Dr. Emanuel Bonner finally realized his destiny. An experienced soap maker whose faith in humanity hadn’t been shaken by the fact that his parents died in the Holocaust, Dr. Bonner began producing a multi-purpose cleaning product that would bring people together while providing them with tips for living a better live. The labels on Dr. Bronner’s Soaps were filled with inspiring prose borrowed largely from Jewish and Christian sources, and his company was one of the first socially conscious organizations to mass produce a popular product. While Dr. Bronner himself may be long gone, his popular soap lives on. For viewers curious to hear the tale of a man who dedicated himself to the betterment of the human race through the use of all-natural cleaning products, this documentary presents Dr. Bronner’s stranger-than-fiction story in greater detail than ever before. ~ Jason Buchanan, Rovi
COCKYBOY’S “A Thing of Beauty” preview starring Gabriel Clark, Colby Keller, Dale Cooper, and JD Phoenix (via daily squirt)
Director’s Note: I’m excited to premiere the preview of our new project “A Thing of Beauty.”
As many of you know, we sent Gabriel Clark to a remote paradise in the dead of winter. He invited Colby Keller, Dale Cooper, and JD Phoenix — but there will be plenty of time for me to discuss the details of the project when it’s released.
For now, I’d like to share a personal note about this project because it is so special to me. This is the first of many creative collaborations with my life partner of 15 years, R. J. Sebastian. Many of you know that we work together, and it is RJ’s beautiful work as the Director of Photography that brings such tenderness to all of my films. Without him, “The Haunting” and “RoadStrip” would still be thoughts on a page.
Truthfully, my entire life with R.J. is a creative collaboration. When I met him 15 years ago, I was at a low point in my life — career in the dumps, broke, and irresponsible. He was everything I was not. He made me want to be a better man.
We have been together since our first date. Is it love? Yes, but it’s also being willing to communicate and work through the hardest and challenging parts of life that are tossed at us. And we continue to do it everyday.
This project — even this short trailer — is a love letter to my love of loves. And it’s OUR document that reminds us that what we have created together is precious. It is the one thing in my life, along with our relationship with Benny Morecock, I am the most proud of.
My hope is that these short films are a candle in the dark for anyone who doubts that the love between two men is anything but A Thing of Beauty.
Love always & be nice,
“Zac Efron is incredibly handsome,” Seth Rogen admitted. “He’s the sexiest motherfucker on the planet. He’s a good-looking kid.”
“I did a scene next to him, and we’re both shirtless, and it was a very humbling experience,”
“I marveled that we’re literally the same species. He’s very veiny. I’m not that veiny . . . and I’m hairier than he is.”
dale cooper & james jamesson together… good times! (though, why does super hairy jamesson have to shave his hairs around his nipples? seriously… why?)
RAGING STALLION: Circus bearded man James Jamesson is like a Viking: barrel-chested, with dense red body hair. Staring at an old snapshot of a masked man sucking a cock gets James hard. When he strips, his skin is pale making the red in his pubes stand out even more. This bearded man has a secret talent, he can suck his own cock, and he proceeds to get the head of his dick in his mouth while in a shoulder stand. That’s the super erotic position he’s in when circus performer Dale Cooper comes in. Dale – a handsome guy, with a long, curved cock hanging down from retro, bushy pubes – gets out of his clothes quickly, because he wants what James is having. Dale’s. James passes the meat from his mouth to Dale’s. They try other sleight-of-cock tricks you won’t see under the big top, like James sucking himself while Dale sucks his balls. When James comes up for air, his tongue gravitates to Dale’s hole, which is dilated and pulsing. Dale tells him to fuck it, and the penetration is bone-steady to the sweet spot. Dale grabs a ladder for support and takes it every way that James can deliver it. After three positions, both men are awash in sweat and the jism flows like a downpour. Behind The Big Top: Circus bearded man James Jamesson passes his dick from his mouth to Dale Cooper’s.
The actual scene in the movie.
WIKIPEDIA: Brideshead Revisited is a 1981 British television serial produced by Granada Television for broadcast by the ITV network. The serial is an adaptation of Evelyn Waugh’s novel Brideshead Revisited (1945). Although John Mortimer was given a credit in the titles, Valerie Grove’s A Voyage Round John Mortimer revealed that Mortimer’s script was never used and that the series was actually written by the producer Derek Granger and others. The bulk of the serial was directed by Charles Sturridge, with a few sequences filmed by Michael Lindsay-Hogg.
Broadcast in eleven episodes, the serial premiered on ITV in the UK on 12 October 1981, on CBC Television in Canada on 19 October 1981, and as part of the Great Performances series on PBS in the United States on 18 January 1982.
In 2000, the serial placed tenth on a list of the 100 Greatest British Television Programmes compiled by the British Film Institute, based on a poll of industry professionals. In 2007, the serial was listed as one of Time magazine’s “100 Best TV Shows of All-Time.” In 2010 it was placed second in The Guardian newspaper’s list of the top 50 TV dramas of all time.
Episode 1: “Et in Arcadia Ego” (Original UK airdate 12 October 1981; 100 minutes) In the spring of 1944, disillusioned Army captain Charles Ryder is moving his company to a new Brigade Headquarters at a secret location he discovers is Brideshead, once home to the Marchmain family and the scene of both pleasant and anguished visits for the younger Charles.
Seeing the house for the first time in many years prompts a recollection of Charles’ first meeting with Lord Sebastian Flyte, the Marchmains’ younger son, at Oxford University in 1922, and the rest of the narrative flashes back to that time forward. At Oxford, two young men quickly bond and, although his cousin warns him to avoid Sebastian and his inner circle of friends, Charles is fascinated by them, particularly flamboyantly foppish Anthony Blanche. Short on funds, Charles finds himself fitfully spending the summer holidays in London with his indifferent and rigid father Edward until an urgent message from Sebastian sends him to Brideshead, where Charles is introduced to a world of wealth and privilege dominated by a powerful devotion to Catholicism.
WATCH ALL THE REST OF THE EPISODES AFTER THE JUMP…
vintage sissydude sinema: the cyclist/ Always Obtainable/ pose please/ A Late Night Visitor/ hawksley & hadnagy
My little Josh is leaving the porn industry! So here is one of his “last” photo shoots (for NEXT DOOR MALE). His hairy ass, his little pink pucker, his pelt… his dinky… Josh has never looked better! Wow!
He has a Raging Stallion production coming out called BEHIND THE BIG TOP. It stars Leo Domenico, Josh Long, James Jamesson, Rogan Richards, Logan Vaughn, Genesis Luna, Jimmy Fanz & Dale Cooper. Sounds like a WINNER.
So I guess my little Josh’s “puppy” performance for Chi Chi LaRue might be his last great “film role”. So, on that note… before you stare all over Missy Long’s business, just click on the You Tube below (as a delightful musical accompaniment) and be whisked off into the sad and amusing headspace of Sissydude boy crushing…
“I just watched the full version of this today. It’s so sexy… provocative… lovely. These men are just so beautiful to look at and when you add listening to them talk about their experiences being red haired… well it just makes for a surprisingly complex viewing.” – Sissydude
Redheads. Fire crotches… This film collects samples of their testimonials and their body hair, skin and sperm. It is about being different genetically, about gay gingers, doubly in a minority, from Ireland to Israel to Brazil. A film made especially for ginger lovers. – Antonio Da Silva
BUTT says: Gingers will premier on Sunday 14 April 2013 at Fringe! a LGBT film festival in London as part of their shorts program. It will be screened at IndieLisboa’13 the following week on 22 April 2013.
A film by Antonio Da Silva
Cast: Andreas (Germany), Adam (England), Anthony (Ireland), Anton (Sweden), Andrew (England), Damien (Scotland), Don (Ireland), Mark (England), Matthias (Germany), Mateus (Brazil), Padraig (Ireland), Rui (Portugal), Sam (England), Sergio (Italy), Simon (Ireland), Sander (Netherlands), Simon (England), Simon (Ireland), Stephan (Germany), Tadeusz (Poland / Israel), Otavio (Brazil), Thomas (England), Xavier (France), (Netherlands), Zero (Brasil).
Camera Editing and Sound Design: Antonio Da Silva
Co-Editor: Tomas Baltazar
Support: THANKS to everyone that donated to watch and support Antonio Da Silva films.
More Donate/Support info after the jump…
US (1973): Thriller/Horror
93 min, Rated R, Color, Available on videocassette
Brian De Palma’s low-budget horror movie about a psychotic ex-Siamese twin has its share of flaked-out humor (as in the TV game-show parody at the beginning) and De Palma does some virtuoso stunts though not in the dream-slapstick style of his later thrillers, CARRIE (1976) and THE FURY (1978). This is a much more primitive scare picture. He lurches his way through; he can’t seem to get two people talking to make a simple expository point without its sounding like the drabbest Republic picture of 1938. The facetious dialogue is a wet blanket, and De Palma isn’t quite up to his apparent intention–to provide cheap thrills that are also a parody of old corn. He manages the thrills, though (there are some demented knife-slashings), and audiences seemed to be happily freaked by Bernard Herrmann’s score, with its old radio-play throb and zing. With Margot Kidder, who knows how to turn on sexiness with a witch’s precision, and Jennifer Salt, who gives a feeble performance as a nitwit girl reporter. Also with Charles Durning, Lisle Wilson, Mary Davenport, Bill Finley, and Barnard Hughes. Shakily written by De Palma and Louisa Rose. A Pressman-Williams Production, released by A.I.P.
For a more extended discussion, see Pauline Kael’s book Reeling.
Busby Berkeley’s “the girl at the ironing board” number with Joan Blondell from ‘Dames’ (and an animated version of the song also from 1934)
Palmy Days (1931) is a musical comedy written by Eddie Cantor, Morrie Ryskind, and David Freedman, directed by A. Edward Sutherland, and choreographed by Busby Berkeley (who makes a cameo appearance as a fortune teller). The film stars Eddie Cantor. The famed Goldwyn Girls make appearances during elaborate production numbers set in a gymnasium and a bakery (“Glorifying the American Doughnut”). Betty Grable, Paulette Goddard, Virginia Grey, and Toby Wing are among the bevy of chorines.
The BEST part of this movie is the “Bend Down, Sister” dance number (no longer online anywhere). The Goldwyn Girls go to the gym (just at the end of the scene above) for a workout (in heels no less). SO GOOD!!! The song they sing & dance to is below… but it’s way better with Charlotte Greenwood & the girls doin’ it.