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Members of the controversial group NAMBLA (North American Man/Boy Love Association) discuss why their organization supports "boys and men who have or desire engagements in sexual or ... See full summary »

Director:

Adi Sideman

Writers:

Adi Sideman, Nadav Harel (co-writer)
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Cast

Credited cast:
Barbara Adler Barbara Adler ... Narrator (voice)
Mimi Turner Mimi Turner ... Narrator (voice)
Rest of cast listed alphabetically:
Bill Andriette Bill Andriette ... Himself
Bill Bickly Bill Bickly ... Himself
Russ Coleman Russ Coleman ... Himself
Renato Corazza Renato Corazza ... Himself (as Rennato Corazza)
Charles Lee Dodson Charles Lee Dodson ... Himself (as Chuck Dodson)
Allen Ginsberg ... Himself
Nicholas Groth Nicholas Groth ... Himself (as Dr. Nicholas Groth)
Peter Melzer Peter Melzer ... Himself
David Miller David Miller ... Himself
Robert Rhodes Robert Rhodes ... Himself (as Bob Rhodes)
Leland Stevenson Leland Stevenson ... Himself (as Leyland Stevenson)
Mason Wallace Mason Wallace ... Himself
Dennis J. Wardrop Dennis J. Wardrop ... Himself
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Storyline

Members of the controversial group NAMBLA (North American Man/Boy Love Association) discuss why their organization supports "boys and men who have or desire engagements in sexual or emotional relationships." Written by Buckie Chuckie

Plot Summary | Add Synopsis

Genres:

Documentary | Crime

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Details

Country:

USA

Language:

English

Release Date:

March 1994 (USA) See more »

Also Known As:

Chicken Hawk See more »

Filming Locations:

New York City, New York, USA See more »

Company Credits

Production Co:

Side Man See more »
Show more on IMDbPro »

Technical Specs

Sound Mix:

Mono

Color:

Color
See full technical specs »
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Connections

References Blame It on Rio (1984) See more »

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User Reviews

Imagine if this film had been made about black men loving white women!
22 November 1998 | by Sagita2See all my reviews

I felt that the underlying treatment of this documentary was generally hostile to a fair understanding of men who love boys and the message we have for society.

There were many "cheap shots" which I saw Adi taking in his film. Incidentally, not towards both sides, equally, but only towards boy lovers. There were technical maneuvers, such as making close-ups on people's teeth, or looking up at Leyland while he drove-and panning on old, dead trees they passed. And the music that was used-stuff that added to an emotion of we boy lovers not being all there, and even pathological.

Now, if Adi had made such a film about black men who loved white women in the 1920s, people would see what I'm talking about. You'd have a movie of "pure" interviews and images from that time. There would be no attempt at analysis. The result would be a film in which there would be a huge uproar in society about the way in which no one attempted to humanize the black men adequately. Adi's career might be ruined before it even started. And you can bet that he would not even begin to allow himself to make an oversight like that.

To conclude, i say that "CHICKEN HAWK: Men Who Love Boys" as a film is in the grey area between a constructive communication to the public, and a destructive one. For the media literate it should hold intriguing questions that can be thought about at length before coming to tentative conclusions. For the media illiterate, the film will most certainly be just one more reason to enhance and enable the increasing psychiatrick-industrial complex. They won't desire to look at we "perverts" as individuals, nor wonder how the film-maker got so close to such people who are supposedly forever "beyond the reach" of "ill-equipped" and "weak budgeted" law enforcement agencies. They'll just foam at the mouth and want to KILL KILL KILL like good citizens are supposed to do at the whim of imposed authority.


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