freakboy on film: THE MEATRACK / STICKS AND STONES (a Something Weird 1970 double feature)

This is not the first time an audio commentary pushed me deeper into the underground filmic rabbit hole.  BLONDE AMBITION is a prime example, but unlike that rollicking sex and dance farce, THE MEATRACK and STICKS AND STONES are not pornos.  They would probably fall under the category of Sexploitation, with maybe a hint of Roughie. 

THE MEATRACK (1970) 

written by Joel Ensana/directed by Richard Stockton 

Picking up this hitchhiker may cost you 10 bucks

J.C. is a wandering bisexual hustler, hitching rides and using what he’s got to get money.  After a few tricks, including a bored housewife, a cynical transvestite with sailor boy dreams, and a nice guy named Ken, J.C. rescues a young woman from a lecherous photographer.  Jean is also a wanderer, so they seem to be a perfect match, even though she is not an ally to “the gays.”  Will their relationship survive after two drag queens force J.C and Jean at knifepoint to have sex with each other on film so the intruders can sell it as a porno?  What will happen if Jean catches J.C. with a male client?  All I will say is the ending shares a vibe with Andy Milligan’s FLESHPOT ON 42ND STREET. 

Should we shoot from the top or bottom?

The Andy Milligan vibe is one of the reasons I enjoyed THE MEATRACK.  J.C. has been damaged by a domineering mother and a flaky father, which is a Milligan staple.  The cynical transvestite, who laments the tragedy of getting old in the gay community, could be a close cousin to Cherry Lane in FLESHPOT.  Hmmm…maybe Milligan was inspired by THE MEATRACK.  Anyhoo, the two drag queen pornographers, who are darkly amusing, seem to have escaped from a Gregg Araki film.  So it’s no wonder I enjoyed THE MEATRACK, especially with its overall downbeat tone.  SIDE NOTE: I had assumed “the gays” was a 21st century turn of phrase, so I was surprised to hear it spoken in a film from 1970. 

Trick-or-treat?

STICKS AND STONES (1970) 

directed by Stan Lopresto (there doesn’t appear to be a writing credit)  

Your hosts for the evening

Buddy enjoys staying out all hours of the night and Peter prefers to stay at home.  What is a couple supposed to do as their relationship spirals down in flames?  Throw a 4th of July party on Fire Island, of course.  Inviting a leather queen, a stereotypical flamer and a new age guru should keep the party poppin’ but the couple’s tension is a total buzzkill.  An impromptu striptease supposedly livens up the festivities and causes more friction between Buddy and Peter.  What will happen when the party is over?  Will Peter and Buddy fight it out or love it out?  Maybe both?  I’m not really sure, so please suffer through this film and tell me what you think. 

How many stereotypes does it take to change a car tire?

To be honest, I was hoping STICKS AND STONES would be better.  The pacing suffers from a lack of momentum and the plot is meandering around there somewhere.  The acting is forgettable, with the exception of the stereotypical flamer, but even his schtick grows tired real quick.  I mean, do we really need to experience him full-throttle flaming out while changing a car tire in real time?  No, I think not!  Then there is the monstrous story Peter tells about a puppy he found which was supposed to show how deeply the character loves, I guess.  It just makes him seem like a psychopath.  STICKS AND STONES feels like it wants to be THE BOYS IN THE BAND (1970) but fails to have a cohesive story or intriguing characters. 

He is judging their party attire

In conclusion…It’s pretty obvious which one I prefer, but I feel both films should be experienced at least once.  They are early examples of openly queer cinema, which is important, now more than ever.  So, if you’re in the mood for a 1970’s style of Something Weird, then stick out your thumb and hitch a ride with THE MEATRACK and then RSVP to the never-ending party of STICKS AND STONES! 

SIDE NOTE: The bonus features on this Something Weird DVD includes an “8mm-Mail-Order Specialty” short titled JOHNNY GIANT, which stars John Holmes, who is not a stranger to this blog. (see WIDOW BLUE)  Guess this legendary hetero-centric adult film actor was either “gay for pay” or there was way more to Mr. Holmes than met the eye! 

Freak Out, 

JLH 

P.S. click a pic ⤵️ for more queer cinema… 🏳️‍🌈🍿

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freakboy on film: EVIL DOLL BLUE (a WALT DAVIS triple feature!)

I was perusing Mélusine’s Valentine’s Day sale when this 2-disc Vinegar Syndrome DVD peaked my interest.  I had never heard of writer/director/actor Walt Davis, but the description of his films  made me want to get to know him.  Plus, the collection was marked down to $5. 

EVIL COME EVIL GO (1972) 
story by Bob Chinn/written & directed by Walt Davis

Sister Sarah Jane will not be amused if you derive pleasure from my review!

Sister Sarah Jane is an intense traveling evangelist on a Holy crusade against pleasurable sex.  Along with Penny, her lesbian disciple, they lure oversexed men to their bed of death.  Cleo O'Hara as Sister Sarah Jane gives a maniacally unhinged performance and is the main reason to seek out this low-budget sex thrill-kill fiasco.  The folksy theme song, which appears to be performed by a hippie following Sister Sarah around, is another reason to experience EVIL COME EVIL GO! 

OH! YOU BEAUTIFUL DOLL(1974) 
written & directed by Walt Davis

Gaye Ramon hopes my review will put her name back in the papers!

Gaye Ramon is an aging Hollywood star who spends her days writing her boudoir memoirs while overly enjoying cherries and bananas.  When that’s not enough to fulfill her, she offers personal acting lessons to young men after they measure up to her standards.  Cleo O'Hara as Gaye Ramon channels Divine as she deals with her shutterbug assistant, eager students, intrusive women, and a sex burglar.  Bizarre and inappropriately hysterical, this feels like a John Waters film from another dimension.  The twisted use of the song “I Wanna Be Loved By You” is also a reason to experience OH! YOU BEAUTIFUL DOLL! 

WIDOW BLUE (1970) 
written & directed by Walt Davis 

Eva Blue just wants my review to be killer!

Eva Blue just wants to be happy, but what’s a 1970’s housewife to do?  Pay her brother to have a torrid tryst with her queer husband Jerry, of course.  Things go from torrid to tortuous as Eva and her lover Nick sneak into the bedroom so Nick can plunge a meat cleaver into Jerry’s neck.  After extended scenes of an incestuous nature on Jerry’s coffin and a swingin’ party with unexpected visitors, Eva and Nick must also cleaver his wife to be truly happy together.  Sadly, Cleo O'Hara isn’t in this one, but we get a full-on appearance from writer/director Walt Davis as Jerry Blue and a not-so-small cameo from legendary porn superstar John Holmes as one of the unexpected swingers.  This makes for eyebrow raising viewing amidst the copious crazy sex and visceral violence.  The climactic gory ending before the baffling dreamy second ending is another reason to experience WIDOW BLUE! 

After watching this triple feature, I feel I’ve gotten to know Walt Davis pretty well.  He was wickedly funny, deliriously perverse and unabashedly demented.  I also learned, thanks to his appearance in WIDOW BLUE, that Walt must have sunbathed with a speedo on.  Either I wasn’t looking in the right place or there’s not a lot of info available, but I couldn’t find much about him online.  According to IMDb, his film career was strictly a 1970’s affair with softcore and hardcore sexploitation flicks under his belt, so to speak.  In a DVD interview with producer Bob Chinn, he said Walt got along with the actresses in his films because Walt was just one of the girls.  That turn of phrase makes me believe Walt Davis is in good company with my other favorite renegade queer filmmakers: John Waters and Andy Milligan! 

Is Walt Davis watching a Walt Davis film?

Producer Bob Chinn also dropped a fascinating behind the scenes nugget about EVIL COME EVIL GO.  John Holmes created the gore effects for Sister Sarah’s victims.  Sure, the blood is 1970’s neon red, but he did an effective low-budget job.  I assume Holmes also created the effects for WIDOW BLUE since the gore shares a similar style and he actually appeared in the film.  Guess his talents were more immeasurable than originally thought.

As an unexpected bonus in my Mélusine order, a love glove popped out when I opened my package.  I don’t know if this is something the company does for their Valentine’s Day sale or if they are trying to say I watch too many films with coffin sex.  Either way, I literally laughed out loud because a surprise condom seemed wildly appropriate with my purchase! 

Unlike Sister Sarah, Mélusine believes in pleasurable sex!

In conclusion…
I’m maladjusted enough to brazenly confess I enjoyed this triple feature and would totally purchase a more complete Walt Davis box set if Mélusine, Vinegar Syndrome or Severin are ever brave enough to release one.  However, it’s fair to say his films are not for everyone, just for freaks like me.  So, if you’re in the mood to explore the fringes of the fringes of ‘70’s cinema and you’re not offended by very fake gore or very real, though very unappealing s-e-x, then this may be the Walt Davis triple feature for you!  

Thank you for reading or listening to my half-blind words!

Freak Out, 
JLH 

P.S. click the pic ⤵️ for more about coffin sex…

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