1 out of 1 people found the following review useful:
Unique & oddly relevant defense of polygamy
lor_ from New York, New York
20 January 2015
Barely seen by the public since its completion in 1977, ALEX Joseph AND
HIS SIX WIVES stands up today as a fascinating relic, a mix of fiction
and documentary that dares to claim polygamy as a civil right protected
by the U.S. Constitution. Many other familiar if far-out (or not so
much anymore, given the advances by right-wing Republicans and
Libertarians in the interim) notions give the film a lasting value, and
make it worth discovering.
Much-maligned indie director Ted Mikels is a good choice for the
subject, given his own peculiar harem lifestyle living communally with
a group of ex-strippers in a Las Vegas "castle" abode. He chose a
CITIZEN KANE style structure for the movie, with an inquiring reporter
from a London women's magazine trekking to Glen Canyon City, Utah to
interview the local major domo Alex Joseph and his (then-current count)
12 wives plus hangers-on or "followers". Cast is mainly real people
stiffly playing themselves plus real actors in a fictional story.
Undein Hampton was cast as the journalist, mannishly dressed with the
character's lesbian tendencies played up by Mikels' direction. She
looks just like British star of that era Sarah Miles, but for some
reason doesn't attempt a British accent for the role.
She teams up with a handsome young Indian Bobby Grey Fox (played
stoically by Billy White Bird), who acts as chauffeur and helps her out
in this very strange milieu. A sort of dialectic is set up between her
as biased women's lib advocate (she calls the wives "slaves"
repeatedly) and the polygamy supporters, namely Alex and all of his "I
am free to marry whoever I chose" young and invariably attractive
This becomes immediately interesting because polygamy, as explained by
wife Carmen who is a law student and handles Alex's numerous problems
with the courts & constabulary, is a civil rights issue. What
fascinated me is that the exact argument forcefully presented here has
been recently turned on its head by right-wingers opposing Gay
Marriage, who claim that if such a constitutional freedom to marry is
accepted for same-sex couples, then it would also apply to polygamists.
More a film of ideas rather than action, it does include a violent
scene more suited to Mikels' talents, when soft-core porn veteran
Patrick Wright tries to rape Undein in a bar and Alex and Grey Fox come
to her rescue. Another familiar soft-core actor Stu Lancaster pops up
briefly as a motel manager. Along the way we learn that Alex's various
businesses don't collect sales tax (he believes it's unconstitutional)
and that his views include returning millions of acres of government
land to "the people", by which he basically is squatting on a small
Alex dresses (and has hairstyle) in modern Indian fashion, but is
idiosyncratic in having a Jewish star and large ISRAEL emblazoned on
the back of his shirt, causing Wright to derisively nickname him "Moshe
Dayan". Film is relentlessly anti-political correctness (probably
hadn't been invented yet, though), with his Indian pals calling him
Honky and Alex pointedly using the N word in addressing a Black agent
from the FBI on his case. Both the FBI subplot and a running gag of an
FDA official from D.C. pursuing Alex to inspect his ginseng production
facilities are necessary for exposition but merely slow the film down.
Climax of the picture is a real-life conclave called by Alex for
"individual thinkers" nationwide. Various right-wing nut-cases (my
characterization) recite brief rants against the federal government
("trampling on our constitutional rights" -sounds familiar?), in favor
of the right to form posses to take (vigilante style) action when local
officers fail to; and Alex's "Violence is the barometer of injustice"
mantra. An observer, Pius Whirlwind Soldier, shows up with his Braves
armed to the teeth and indicates he takes a Black Panther style stance
regarding protecting his tribe's traditions.
Film is made simply and stylelessly, but shows some local scenic
wonders that make Alex's commune seem idyllic. By film's end it is
clear that the British journalist has been won over at least
emotionally by her hosts, though the viewer is undoubtedly going to
remain skeptical, especially when the Epilogue credit at the end
indicates Alex is currently (May 1977) pursuing a Hollywood film
Hopefully viewing this film will inspire a re-assessment of Mikels and
his career, as he's currently unfairly dismissed as incompetent or
revered by a handful in the same contrary value system that has given
the likes of Ed Wood and other impoverished directors a free pass.
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