5.7/10
2,086
23 user 34 critic

Flesh (1968)

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

Director:

Paul Morrissey

Writer:

Paul Morrissey
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Cast

Complete credited cast:
Joe Dallesandro ... Joe - the Hustler
Geraldine Smith ... Geri - Joe's Wife
Patti D'Arbanville ... Patti - Geri's Lover
Candy Darling ... Candy - a Transvestite
Jackie Curtis ... Jackie - a Transvestite
John Christian John Christian ... Joe's Customer
Maurice Braddell Maurice Braddell ... The Artist
Geri Miller Geri Miller ... Terry
Louis Waldon Louis Waldon ... David - the Gymnast
Rest of cast listed alphabetically:
Barry Brown 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:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

27 May 1970 (West Germany) See more »

Also Known As:

Andy Warhol's Flesh See more »

Filming Locations:

New York City, New York, USA

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Box Office

Budget:

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

Company Credits

Production Co:

Factory Films (I) See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color (Eastmancolor)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

Film debut of Candy Darling. 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

Candy, a Transvestite: Don't you know the angels are watching?
Terry: They're doing it too.
Joe, the Hustler: Mother used to watch. She didn't mind.
Jackie, a Transvestite: You know Joe. You'll never get to Heaven if you break my heart.
Joe, the Hustler: I don't want to go to Heaven anyway.
Jackie, a Transvestite: You better be careful. Joan is watching.
Terry: Who's Joan?
Jackie, a Transvestite: Joan Crawford!
Terry: Oh. She's done it too.
Candy, a Transvestite: What did you say? Joan Crawford?
[...]
See more »

Crazy Credits

The only closing credit is a copyright notice. See more »

Connections

Referenced in The Love Captive (1969) See more »

Soundtracks

Makin' Wicky Wacky Down in Waikiki
Performed by Sophie Tucker.
See more »

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User Reviews

the passive object of desire
25 June 2000 | by JMannSee 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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