freakboy on film: PILLION (2025)

My sister noticed this film listed on HBO and read the synopsis to me.  Much like FLESHPOT ON 42ND STREET on TCM back in 2020, I knew I had to watch PILLION!  It didn’t hurt that one of its stars is Alexander Skarsgård, and he might be at his sexiest here. 

Colin is a young Englishman who lives with his father and cancer-ridden mother.  On a blind date at a pub set up by his mother, Colin spots a tall drink of biker leather named Ray.  After paying for Ray’s snacks while getting another round for his blind date, Colin suddenly has a date for Christmas Day, or night, rather.  This first festive back-alley holiday date includes Colin being ordered to literally lick one of Ray’s boots and then to stay on his knees to satisfy the biker’s Christmas wish.  Who says romance is dead? 

This first date wakes up a submissive kink in Colin and he eventually begins living with Ray.  This arrangement includes Colin fixing all the meals, sleeping on a rug on the floor at the end of Ray’s bed, having his head shaved and being one of the naked offerings at a biker potluck picnic.  One reward for behaving like a good little submissive is a wrestling sex session, which is more about Ray’s physical pleasure than Colin’s.  Is it now obvious why I had to watch this sometimes twisted film?

After a personal tragedy, Colin begins wanting an emotional connection.  In an act of compassion or sympathy, Ray allows Colin to share his bed.  This seeming softness is short-lived and soon it’s back to the rug.  Disappointed, Colin works up the nerve to request a day off where they act like two people in an equal, loving relationship, but will Ray give-in or will Colin have to remain a 24/7 submissive?  

Harry Melling,  grandson of the 2nd Doctor Who Patrick Troughton, brings a sympathetic innocence to Colin even as he engages in very non-innocent activities.  Alexander Skarsgård, brother of Pennywise Bill Skarsgård, infuses Ray with intense sexual magnetism and a believable demanding attitude.  The rest of the cast is great, but top honors must go to Lesley Sharp as Colin’s mother Peggy.  She is full on believable as a loving parent who is also understandably concerned about her son’s new relationship, even as she is dying.  The scene where Ray joins Colin’s parents for a meal is priceless in its mixture of humor and pain.  

Writer/directer Harry Lighton balances both pain and humor with brilliant results.  There were times I found myself chuckling, but I wasn’t sure it was supposed to be funny.  Then again, how could the wrestling scene not be funny with Tiffany’s cover of “I Think We’re Alone Now” playing front and center?   I became so curious if the source material for PILLION, the book “Box Hill: A Story of Low Self-Esteem” by Adam Mars-Jones, is also equal parts humorous and painful that I ordered a copy.  As if I don’t have enough to read! 

I confess that I don’t fully understand this type of arrangement.  I mean, I can wrap my head around paying someone for a weekend of being a dom or a sub, but a full-time relationship boggles my mind a bit.  However, if the participants are willing adults who completely understand what is expected, then embrace your kink and go for it. 

In conclusion… 

I enjoyed PILLION because the characters felt realistically written and performed.  Plus, it is truly a unique kind of love story.  So, if you’re looking for a different way to celebrate 🏳️‍🌈Pride Month🏳️‍⚧️, grab a lock or a key and get kinky with PILLION! 

SIDE NOTE: 
According to Merriam-Webster, the definition of pillion is “a motorcycle or bicycle saddle for a passenger.”

Freak Out, 
JLH 

P.S. The character of Ray gave off a vibe that reminded me of the Wendy’s man I blogged about earlier this year.  Click the pic for more about him…👇

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Celebrate 🏳️‍🌈Pride Month🏳️‍⚧️ with my queer books available in various formats from Amazon…
📚 

freakboy on film: YENTL (1983)

screenplay by Jack Rosenthal & Barbra Streisand / directed byBarbra Streisand  

“What the hell is happening on this blog?  He goes from promoting puppet porn to blogging about…Barbra Streisand?!?  Surely this is a sign of the Apocalypse!” 

That’s probably what you’re saying and I can’t blame you for being confused.  I am so NOT a Streisand fan.  (Papa, can you hear the collective gasp of exaggerated horror from all the bitter old queens in the world?) The only other film I’ve seen her in is MEET THE FOCKERS (2004) and I still loathe myself for sitting through such dreck.  As for her singing career, well…I’d rather listen to my cat puking up a hairball. 

As for YENTL, the plot has been on my radar since I was a kid.  Anything that plays with gender expectations has always interested me.  So, last Sunday evening I plopped down in the recliner, switched on TCM, the same cable channel that introduced me to Andy Milligan, and mentally prepared myself for YENTL.  Though I almost switched it off because the TCM announcer announced it was a musical.  Believe it or not, I had no idea.  I thought it was strictly a period piece drama, which, according to the announcer, is what Streisand originally intended.  A couple of songwriters convinced her otherwise and I convinced myself to watch it anyway…or maybe I was just too lazy to get up from the recliner.  

                                Yentl, probably about to sing

The film revolves around Yentl (Barbra Streisand), a Jewish woman who wants to study her religion like the men folk do.  This is forbidden in 1904 Eastern Europe because God forbid women use their brains to do anything other than make babies and almond cookies.  Well, after her father jump-starts the plot by croaking, Yentl flees her oppressive village disguised as a man.  If the villagers would’ve seen her sneaking off, all the gossipy women would’ve fainted and the men would’ve called her a demon.  Personally, as someone whose mom mainly wore jeans or slacks, I was cheering Yentl on.

                     Yentl as Anshel, also probably about to sing

Anyhoo, Yentl, now going by “Anshel”, is admitted into a religious school and finds herself in a complicated love triangle.  Yentl has developed feelings for Avigdor (Mandy Patinkin), but he sees her as a man.  Besides, Avigdor is betrothed to Hadass (Amy Irving), so he is taken, but not for long.  

                      Hadass is longing for the singing to stop

A family secret is revealed about Avigdor, forcing Hadass’ parents to dissolve their engagement.  Now Avigdor is ready to split town on the next steam engine unless “Anshel” promises to woo and marry Hadass.  This way Avigdor will still be in Hadass’ life in some way.  Yentl agrees to this because she doesn’t want to lose Avigdor, even though he still believes she is a man.  Will this emotionally messy deception to become a throuple work or will lives be destroyed if Yentl decides to throw herself a gender reveal party?  You’ll have to watch to find out. 

               Avigdor tries to stop the singing by getting naked

Mandy Patinkin is electric as Avigdor.  It’s impossible to tear your eyes away from him, especially in the skinny-dipping scene.  Amy Irving as Hadass is sweet and more complex than her initial subservient demeanor would suggest.  Then we have Barbra Streisand as the title character.  From when she is longing for more out of life to maneuvering through a man’s world as a man to the tough decisions she has to make in the name of love, Streisand is believable and sympathetic as Yentl.  Now only if she didn’t sing so bloody much! 

Please pass the earplugs.  There is no stopping the singing!!!! 

Sorry, but my filmic gods help me!  The songs multiply like bloated bunny rabbits that blur together.  I understand the lyrics are supposed to reflect Yentl’s internal thoughts, but this could have been done in speedy, non-musical prayers to God or her dead daddy.  Maybe if Streisand ever directs a reboot, she’ll go with her gut instinct and cut the endless songs.  

(SIDE NOTE: Mandy Patinkin, an established Broadway performer at this point, doesn’t sing a single note) 

I must add that Barbra Streisand does a good job directing the film.  She knows how to frame a scene to best capture the emotions emanating from the script.  It amazes and impresses me that a film dealing with the Jewish faith and gender nonconformity would get made by a major studio in the conservative, moral majority landscape of the 1980’s.  Especially since it was all directed by a woman.  Well done, Streisand & MGM. 

In conclusion… 

YENTL is a good film, but the songs keep it from being a great one.  On one hand, I enjoyed it for the plot and the characters, even though It is disappointing that the story mostly shied away from fully exploring the homosexual overtones.  On the other hand, I found the film excruciatingly painful when the singing would start.  My apologies to any bitter old queens out there, but I haven’t been converted to a rabid Streisand fan who openly weeps at the song The Way We Werewhile obsessively clutching the FUNNY GIRL soundtrack.  I’ll stick with Julie Brown as my diva obsession of choice, thank you very much. 

(SIDE NOTE:  I owe IMDb much gratitude for the spelling of character names) 

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

Freak Out, 

JLH 

P.S.  Don’t have a conniption!  SHE MOB will be ganging up on you sooner or later!  

Until then, click the pic ⤵️ for more fun with shredding gender expectations…

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It’s Pride Month 🏳️‍🌈, so now is a great time to haunt the queer streets of Sturgeons…

 

freakboy on film: FLESHPOT ON 42ND STREET (1973)

 (written & directed by Andy Milligan)

I could slip on my Mad Scientist Glasses and take photos of the TV screen or just look up a program schedule online, but my sister was already checking listings on the onscreen cable guide last Friday.  So, I inquired as to what was airing on Turner Classic Movies overnight.  When my sister mentioned FLESHPOT ON 42ND STREET, I asked in a most incredulously curious tone, "What is that about?"  When she uttered the words, transvestite roommate, I knew for certain I'd be waking up in the middle of the night to catch this TCM Underground flick. 

FLESHPOT ON 42ND STREET (or, as it's also known, The Girls on 42nd Street) is about a worldly New York woman of the 1970's named Dusty.  Dusty is three months into shacking up with a guy and she's tired of listening to him bitch about her not having a job.  The final straw breaks when he asks her to tidy up the apartment while he's at work.  Dusty lulls his anger through seduction, and promises to do so.  Then, once he leaves, she tidies up the place by robbing him blind. 

Dusty takes the hot property to a less than reputable (is there any other kind?) pawn shop.  The owner offers her $30 for the TV and jewelry, but Dusty wants more.  The classy owner offers her $50 if she joins him in the back room.  She does, they do and they leave the pawn shop.  He heads off to fetch lunch for the two of them, while Dusty claims she is going to use a phone booth across the street.  Instead, she breaks into the shop to steal more money and a nice broach.  Even hustlers need to look glamorous.

Speaking of glamorous, our ever-resourceful heroine lands on the doorstep of Cherry, a transvestite hustler with a sharp tongue and tricks to spare.  Her clientele are strictly men and when a weekly appointment spots Dusty, Cherry generously steps aside, but the trick makes it clear that he will be back next week for some Cherry.

With all of Dusty's recent influx of income, she and Cherry go out on the town.  They end up at a bar where they spot Bob.  Bob, despite his Norman Bates demeanor, is a nice guy from Staten Island.  To nobody's surprise, Dusty goes home with Bob.  What is surprising is Dusty likes Bob so much that she doesn't accept money from him and doesn't want to rob him blind, even though he gave her keys to his home. 

Will Bob be the fairy tale ending for Dusty, our hustler heroine?  Will Cherry ever afford a less grandmotherly wig?  Will I give away the ending that, quite literally, comes out of nowhere?  I seriously considered it, but decided to leave you satisfied, but wanting more, like a good hustler should. 

As for the acting, there is a natural 1970's feel to it.  Honestly, the performances are better than they should be.  Same goes for the dialogue.  The words are brazen, shocking and probably offensive to 21st Century ears, but there is honesty there.  Especially when Dusty doesn't want Bob to stare too deep into her eyes and when Cherry waxes tragically realistic about being an aging transvestite hustler.  I found it easy to feel compassion for these characters despite some of their horrible behavior. 

SIDE NOTE: While researching this film on IMDb, I was shocked to learn that Harry Reems, the notorious DEEP THROAT actor, played Bob!  Actually, the three leads all used assumed names.  Laura Cannon played Dusty and Nell Flanagan played Cherry.  Further research revealed what I watched on TCM was an R-rated cut of an X-rated film, which explains a lot. 

In conclusion, if you dig obscure, gritty, indie films from the 1960's & 1970's, then FLESHPOT ON 42ND STREET may be the trick for you.  I have no regrets waking up to watch it at 1:30 am, and I would do it again.  Mainly because the DVD is out of print and is crazy expensive. 

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

Freak Out, 

JLH 

P.S.  A different post about a different obscure film I watched in the middle of the night...

https://freakboyzone.blogspot.com/2019/01/freakboy-on-film-butcher-baker.html 

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My books & blogs...

http://thejlhcollective.blogspot.com/2018/03/the-collective.html