5.7/10
1,997
22 user 34 critic

Flesh (1968)

A man desperate for money and no income, turns prostitute and interplays with a variety of clients and hustlers.

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Cast

Complete credited cast:
...
...
Geri - Joe's Wife
...
Patti - Geri's Lover
...
...
John Christian ...
Joe's Customer
Maurice Braddell ...
The Artist
Geri Miller ...
Louis Waldon ...
David - the Gymnast
Rest of cast listed alphabetically:
Barry Brown ...
Boy in street
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Storyline

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 Artemis-9

Plot Summary | Plot Synopsis

Taglines:

Just an ordinary day in the life of a male hustler.

Genres:

Drama

Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

27 May 1970 (West Germany)  »

Also Known As:

Andy Warhol's Flesh  »

Filming Locations:


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Box Office

Budget:

$4,000 (estimated)
See more on IMDbPro »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

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 »

Goofs

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 »

Quotes

Jackie, a Transvestite: [to Terry and Joe] Do you know any poems? I'm starving for culture.
See more »

Crazy Credits

The opening credits run sideways and list Warhol's name, the title, the main cast members, and that it was written, photographed and directed by Paul Morissey. See more »

Connections

Featured in Empire of the Censors (1995) See more »

Soundtracks

Makin' Wicky Wacky Down in Waikiki
Performed by Sophie Tucker.
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User Reviews

the passive object of desire
25 June 2000 | by See all my reviews

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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