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They’re both love stories of a sort (Bressan was always the genre’s biggest romantic), but they’re also incredibly politically charged. Bressan, Jr., would make a name for himself with two scrappy, but highly ambitious films: Passing Strangers and Forbidden Letters. In San Francisco, a filmmaker named Arthur J.
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While many of them are currently hard to view, films like Scandelari’s New York City Inferno, Terry’s Young Prey, Francis Savel’s Equation to an Unknown, Psycho Cop director Wallace Potts’ Le beau mec and poster artist Jean-Étienne Siry’s “And… God Created Men” are all crucial and unique parts of French gay film history.īack in the States, more major directors were springing up outside of the major studios. The film was such a smash success that the two men who imported it, producer Norbert Terry and director Jacques Scandelari, decided to start making gay films of their own, which in turn led to a full-blown industry. This was right around the same time that the French government decided to loosen up its censorship regulations and legalize hardcore, which in turn led to a flood of foreign films being imported into the country-including Good Hot Stuff. In 1975, the studio released Good Hot Stuff, a behind-the-scenes anthology featuring segments from many of the films I’ve already listed (it’s a great introduction). I don’t want to give anything away, so I will say no more.īut perhaps one of Hand in Hand’s biggest legacies is its role in the creation of the French adult film industry. Brown’s best film was also the only one he made for Hand in Hand: a deconstructed version of that aforementioned formula called The Night Before. These early works (some of which you can see in his later collection Five Hard Pieces) are crude and simple, but with their frequent shots of men picking each other up in public spaces like Central Park and walking home arm-in-arm, they perfectly reflect the open feelings of gay liberation that were in the air at the time. Shortly after the smash success of Left-handed, they quickly expanded, bringing in filmmakers such as Arch Brown, Peter de Rome and Tom DeSimone.īrown was no stranger to New York screens-through his association with the underground film club Cinema 16, he was likely the very first person shooting gay hardcore in New York. They’re simply some of the greatest gay films of the decade.īut Hand in Hand wasn’t just Jack Deveau. While Deveau’s later films, like A Night at the Adonis, Rough Trades, Fire Island Fever and Times Square Strip were more crowd-pleasing comedies, they still never shied away from tackling the same difficult themes.
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Mans took cynical looks at gay relationships and promiscuity that I think easily go toe-to-toe with “legitimate” films from the era, like Rainer Werner Fassbinder’s Fox and His Friends and Christopher Larkin’s A Very Natural Thing. With films like Left-handed, Ballet Down the Highway, Wanted: Billy the Kid and my personal favorite, Drive, Deveau and writers Tray Christopher, Moose 100, and P.P. Its films were often grittier and, owing to Alvarez’s roots in New York’s underground film scene, much more experimental. Formed at the urging of Sal Mineo by film editor Robert Alvarez, industrial designer Jack Deveau, and architect (and war hero!) Jaap Penraat, Hand in Hand was sort of like the New Hollywood to Jaguar’s Old Hollywood. A 1974 raid by the LAPD would effectively force the studio to close its doors, but for several years Jaguar represented the promise that high-class gay filmmaking could be a thing.Īt the same time as Jaguar was just beginning to hit its stride, another major studio popped up on the opposite end of the country: Hand in Hand Films.
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Their output was diverse-from coming out stories like The Experiment to dramas like Brothers and The Roundabouts, comedies like A Ghost of a Chance (a gay-bent remake of David Lean and Noël Coward’s Blithe Spirit), buddy movies like The Grease Monkeys and insane vanity projects like The Light from the Second Story Window. Founded by former Park Theater partner Monroe Beehler, Jaguar attempted to bring respectability to the burgeoning genre by openly emulating old Hollywood filmmaking-right down to assembling a core group of filmmakers like Rocco, Dick Martin, Gorton Hall and Barry Knight.