The story of Joe [Dallesandro] and his lover-protector, Holly [Woodlawn], who is something to behold, a comic book Mother Courage who fancies herself as Marlene Dietrich but sounds more ... See full summary »
"Heat" is a parody of "Sunset Boulevard." Joey Davis, an unemployed ex-child actor, uses sex to get his landlady, Lydia, to reduce his rent, and then tries to exert his influence on Sally ... See full summary »
Ondine is a gay man attempting to re-adjust his sexuality via various encounters with different women. After trying his luck with three women, Ondine becomes a background character in a ... See full summary »
This film is a satire of the women's liberation movement, staring a trio of female impersonators. Candy is an aloof heiress caught in an unhappy relationship with her brother. Jackie is a ... See full summary »
Frank Ripploh is a bit of a rascal: he's a bearded and shaggy-haired teacher, and he's gay with a very active sex life and an interest in making films. He keeps his personal life and ... See full summary »
Viva and Taylor Mead are a married couple renting an extra beach-house to a group of surfers sent to them by a Mr. Morrissey of La Jolla Realty. Their daughter, Ingrid Superstar, is ... See full summary »
Vixen lives in a Canadian mountain resort with her naive pilot husband. While he's away flying in tourists, she gets it on with practically everybody including a husband and his wife, and ... See full summary »
A suburban housewife's world falls apart when her pornographer husband admits he's serially unfaithful to her, her daughter gets pregnant, and her son is suspected of being the foot-fetishist who's been breaking local women's feet.
Geri (Geraldine Smith) ejects her husband Joe (Joe Dalessandro) from bed, and insists he go out on the streets to make some money for her girlfriend's abortion. This leads to Joe's various encounters with clients on the streets of New York City: an Artist (Maurice Bradell) who wishes to draw Joe, a Gymnast (Louis Waldon), and another 'John' (John Christian). Joe spends time with other hustlers, one of whom is played by his real life brother, and teaches the tricks of the trade to the New Hustler (Barry Brown). Back home, Joe interacts with his real life one-year-old son. Joe gets back home, presumably at the end of his duty work, and is in bed with Geri and her girlfriend Patti (Patti D'Arbanville). The women strip Joe and begin to get intimate with each other; Joe gets bored and falls asleep. (Source: Wikipedia) Written by
UK censor John Trevelyan was wary of issuing the film a cinema certificate and suggested to the distributors that the film be shown on a club basis. When it was initially shown at the Open Space Theatre in London in February 1970 the cinema was raided by police who attempted to seize the film, leading Trevelyan himself to hastily rush to the cinema and vigorously defend the movie against possible prosecution, calling the police action 'unjustified and preposterous'. In the light of this incident Trevelyan was able to grant the film an uncut 'X' certificate. See more »
During a scene with the go-go dancer, Candy and Jackie alternately call her by the character's first name (Terry) and that of the actress playing her (Geri Miller). See more »
Flesh is the first film of a trilogy by Paul Morrissey and Andy Warhol, and is perhaps the first attempt to create an icon of desire out of a male leading role. Although the film is focused on an uncomplicated character development of Joe (Joe Dallesandro), a gentle and subtly unhappy hustler, it depicts him as a passive and ambivalent object, who, in spite of a semi-evident sense of self-control, is possessed, shaped, and evaluated entirely by others. Joe is a young and somewhat naive Adonis who exudes comfort and beauty in his independence, but he works the streets to support his lesbian wife and her girlfriend. He is restlessly bored by an artist/customer's speeches on Greek athletic sculpture and 'body worship', but he sells his nudity anyway. He regards the increasing advances of his homosexual friend with ambivalence, but lets them happen nonetheless. This passivity dominates the film and succeeds in creating a visceral element to Dallesandro's appeal: not only is he desired, he is had.
Perhaps the film's most interesting element is the balance of its obviously experimental nature with its palpable directness. The snappy editing and fragmented dialogue make it fresh and 'real', yet it manages not to rely on the clichéd abstractness of art-films. It is rough, and indeed a weaker effort than Trash or Heat, but nonetheless presents a collection of perfectly plausible characters in a light of almost absolute neutrality.
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