freakboy on film: THE FIREWORKS WOMAN (1975)

Have all of my favorite film directors directed porn?  Ed Wood, Jr. certainly did!  One could argue that Andy Milligan did with the uncut version of FLESHPOT ON 42nd STREET because of at least two very real sex scenes.  Even John Waters admits that one uncomfortably memorable scene in PINK FLAMINGOS is a satirical take on DEEP THROAT.  Oh, and while Roger Ebert made it abundantly clear that Russ Meyer did NOT direct porn, I argue that his manically unhinged UP! (1976) is at least porn-adjacent.  (I really need to review that piece of celluloid craziness.) 

So, I guess it’s not a surprise that before Wes Craven gave us A NIGHTMARE ON ELM STREET, he inverted and exploded the concept of adult cinema with THE FIREWORKS WOMAN (aka The Fireworks Man, which makes more sense as the title.) 

Angela is a complicated woman haunted by the past, by her incestuous feelings for her brother and by The Fireworks Man, a seemingly supernatural entity.  These three influences in her life seem to be entangled as she shows up at the church where her brother Peter is now a priest.  Angela wants to continue their taboo relationship that was consummated before Peter became a man of the cloth.  Peter swears he doesn’t want what Angela wants, but he gets her a job as a maid to one of his parishioners.  The twisted old refined lady and her kinky male cohort start Angela down a path of self-discovery, even though Peter is never far from her thoughts.  

Does THE FIREWORKS WOMAN end with a bang or a fizzle?  It ends just like a Wes Craven film should end, leaving the viewers questioning everything they just experienced.  

SPOILER ALERT

Peter gets advice from the Monseigneur and throws a church banquet.  Angela gets advice from Nicolas Burns (The Fireworks Man) and invites the congregation to an orgy at the same time as the banquet.  Guess which party the so-called faithful attend!  Nicolas then tricks Peter into coming to the orgy, forcing the priest into a decision.  Peter leaves a note for the Monseigneur and then brazenly enters the orgy, scoops up Angela and carries her to a boat.  Then brother and sister sail away, living happily ever after…or do they?  The Monseigneur rushes to the beach to stop the ungodly lovers, but it’s too late.  As he turns away, the disciple of God disappears as Nicolas Burns (the disciple of Satan?) appears, turning towards the faraway boat.  What does this mean for Angela and Peter?  Does it mean the Monseigneur and The Fireworks Man are just flip sides of the same coin?  Unfortunately, Wes Craven never publicly spoke of this film in detail, so, like the end of A NIGHTMARE ON ELM STREET, it’s left to interpretation.  However, according to a blu-ray bonus feature, the original script ends with the boat washing ashore somewhere without Peter and Angela on it.  Even that ending would’ve been enigmatic.  

THE FIREWORKS WOMAN is definitely written and directed by Wes Craven.  His mark is on the haunting visuals, the unsettling/shocking story and he even portrays Nicolas Burns.  The director, who does not appear in the sex scenes, seems very comfortable in front of the camera and appears to be having fun sowing the seeds of chaos as The Fireworks Man.  As for the other actors, they share that natural 1970’s acting vibe.  Jennifer Jordan as Angela and Eric Edwards as Peter are believable as the tormented siblings.  
SIDE NOTE: Eric Edwards is no stranger to this blog.  He appeared as the rich guy with the priceless broach and manipulative aunt in the uproarious BLONDE AMBITION (1981). 

In conclusion… 
When I noticed Melusine was offering this most obscure Wes Craven film, I didn’t think twice about it.  THE FIREWORKS WOMAN is a disturbing study of emotional trauma and forbidden love.  No, it’s not quite on par with Wes Craven’s other films, but it’s an intriguing celluloid stepping stone on his way to creating Freddy Krueger.  So, if you’re a Craven completist or a truly adventurous film freak, THE FIREWORKS WOMAN is the film for you!  Be warned though, there is a very brief scene at the orgy between a fisherman and his catch of the day that you will never unsee! 

Freak Out, 
JLH 
~~~~~~~~~~~~
Dare to enter the fantasies of my deranged mind in 2026… 
🧠 
📚 

freakboy on film: SEX DEMON (AND OTHER HAUNTINGS)

This is not Pornhub, despite having blogged about puppet porn, song & dance porn and Ed Wood porn.  However, I haven’t blogged about queer horror porn.  No, WIDOW BLUE (1970) doesn’t count because it’s like 1% queer sex and 99% hetero-centric boinking between the bloodshed.  Even with that unbalanced example, I was surprised 1970’s queer horror porn was even a thing. 

I found the AGFA (American Genre Film Archive) blu-ray of SEX DEMON (AND OTHER HAUNTINGS) some time ago at Vinegar Syndrome’s scintillating sister site Mélusine.  Much like so many other filmic purchases, I experienced the craziness and decided to wait for the perfect time to blog about what I’ll never unsee.  Well, if Pride Month isn’t the perfect time to blog about a queer horror porn triple feature, when is?  Ok, maybe Halloween, but I’m in the mood now, so I am not waiting for October. 

SEX DEMON (1975) 
written & directed by J.C. Crickett 

John gives Jimmy a gaudy medallion for their second anniversary and all gay hell breaks loose!  Jimmy develops a voracious appetite for raw meat from the fridge and seriously rough sex with strangers.  Little does John and Jimmy know, the medallion is cursed.  Will John be able to save his partner with an exorcism or will Jimmy continue his sex-murder spree?  

Just don’t serve him pea soup!

What if Andy Milligan made gay porn?  The answer would look a lot like this memorable piece of less-than-sexy ‘70’s queer horror.  Ferocious, violent and completely manic, with a mix of low-key and histrionic performances, SEX DEMON is only for the most daring of horror film lovers.  I enjoy the frenzied, low-budget Andy Milligan-esque energy, but the rough sex can be rough to watch, unless you’re into certain kinks. 

DEADLY BLOWS (1971) 
directed by Nicholas Grippo (as Max Blue) 

An unnamed man lives alone in a secluded area.  Surrounded by nature, he speaks of loneliness, but also tries to turn away anyone who stumbles into his withdrawn world.  Maybe he is trying to spare them because after making love with his unsuspecting male visitors, he brutally kills them through strangulation or a deadly blow from a hammer.  He doesn’t know why he murders his lovers, he just does.  Then his outwardly simple life becomes complicated when a roommate of one of his victims shows up at his door.  Will the man continue his love-kill cycle or will the stranger figure out what happened to his roommate before it’s too late? 

Is that a hammer in your hand or are you just happy to see me?

Deliberately paced, with a methodically level tone, this feels like the antithesis of SEX DEMON.  The only jarring energy comes from the surreal opening and closing scenes of a shrill scream and a murder the main character either witnessed or committed.  There is no dialogue throughout the film, just a voiceover as the man narrates his own story, seemingly emphasizing his loneliness.  I like the melancholic atmosphere because it gives a sense of realism to DEADLY BLOWS, which, by the way, is a brilliant title for queer horror porn.   

10:30 P.M. MONDAY (1970) 
directed by Lucas Severin 

A man, who seems to be dissatisfied with his sex life, receives a sketchy message in the mail.  All it says is the title of the film.  He initially puts it aside, but as 10:30 P.M. MONDAY draws closer, his curiosity grows.  A fancy black car appears and takes him on a phantasmagorical sex odyssey.  The man enters a building with areas marked as Bar, Toilet, Bath, Beach and Orgy Room, which actually seems to be every room.  (SPOILER ALERT)  By the end, the man is suddenly back in his home, holding the cryptic message.  Did he experience these hardcore events or was it all a feverish premonition?  I haven’t a clue. 

Loneliness as an art form.

For only being one hour, this film feels like a painful eternity.  It’s just scene after scene of sex, sometimes extremely rough sex, and the whole thing becomes very boring, very quickly.  Oh, there is occasional artistic flair, but the focus is more on the sex than the plot or  characters.  In other words, I don’t recommend 10:30 P.M. MONDAY. 

In conclusion… 
Two out of three ain’t bad.  However, these films are an important piece of queer history.  While major studios were barely touching upon homosexuality during that time, these adult films and other independently produced cinematic excursions, were able to more fully explore the voices in the LGBTQ+ community.  Also, it’s great to see queer representation in horror, a genre infamously known for ignoring us.  So, if you’re an adult and you don’t have a hang-up about seeing very real sex, SEX DEMON (AND OTHER HAUNTINGS) may be the blu-ray for your Pride Month collection! 🏳️‍🌈

Freak Out, 
JLH 

P.S. Speaking of Queer Horror Porn… 😏⤵️