BijouBlog

I moved into the nitty-gritty “big, bad” city in the middle of the 1980s. I rented a small, in fact, tiny, one-bedroom apartment for $425.00 a month, heat included, not far from Wrigley Field. The hoary Music Box Theater was within walking distance, still a major cultural center of the area. A mom-and-pop hardware store was among the retail establishments.
 

The Southport Avenue strip was dead at night. Signs of gentrification were occurring, mostly originating from well-heeled types who could afford to buy and rehab the large vintage dwellings that once housed working-class, white ethnic families.

One could hear wild metal and punk bands at the nearby Cabaret Metro, and the gay bars of Halsted Street were a cab ride away. Hustlers worked some corners to the east on Broadway. And, just a couple blocks to the north of my pad, the bar El Gato Negro, (picture at link) a dance club with a primarily Latino and trans clientele, was the scene almost every night of brawls. Yes, chair-throwing and punches.

I'm working with a cliché here, I admit. The strip has changed. It's all spas, boutiques, specialty restaurants and bars, geared toward the new well-heeled white jock/cheerleader types Chad and Brad and Taylor and Justine, many of whom are now pushing strollers. I am stereotyping; in fact, many of those who can afford to live in gentry-land make big money in the tech industries, as well as the more traditional legal and medical fields.

These new cityscapes of wealth don't possess the size and power of Silicon Valley in California, but the comparison is potent. Those who make money expect certain goods and services, and they are willing to pay for them. A $425 a month non-rehabbed apartment with a flower-power vinyl kitchen floor doesn't fit into this cut glass, opulent, homogenized landscape. The same apartment now goes for $1,350.00 a month (considered a bargain), and the kitchen and bathroom approximate the vast stainless steel and marble and quartz rooms in the million dollar condos where cooking often comes from a delivery box.

The situation in San Francisco, the most expensive city in the United States, is like this Chicago urban experience on steroids. Having just finished Armistead Maupin's Tales of the City, where Anna Madrigal owns a gorgeous building with its own garden and can welcome new tenants with a joint on the door, the article that claims, “readers' first San Francisco rent prices will make you cry,” really wounds. Deeply. Bohemian paradise lost.
 

Here are few first hand accounts from that piece:

“1974 – $145 for a beautiful one bedroom apartment on pacific between Fillmore and Webster!! elevator had gate you had to to open and close. no bay view but all i had to do was walk to the corner and gaze at the most beautiful city. that was then. possibly 2340 Pacific? (those were the ’70s after all.)”—cicinla

and

“1975. Hyde and Sutter. 6th floor Studio with built-in antique (lukewarm) refrigerator, 180 degree view over the city. Furnished it with treasures out of a dumpster on Larkin. $105.00 a month. Now goes for $2195.00.”—George Reeds
 

and

“My first apartment was $245 a month on Dorland Street off Dolores in 1977. A spacious one-bedroom with a large kitchen with many glass-fronted cabinets and a huge bathroom containing a linen cupboard with drawers underneath and completely tiled. Night-blooming jasmine grew on the hedges in the backyard and their scent permeated the place when I opened the windows in warm weather. I loved it.”—Carolyn Zaremba

The cities are becoming suburban. The cities are living exhibits of profound income inequality and racial segregation. Yes, true, brutally true, but what I find worrisome is the association of those who had to flee from where they live with not just crime, but with activities that don't gel with a variety of norms, ranging from heteronormativity to late capitalist exploitation. I admit I've made that connection earlier in the blog, but does a “nice, safe” neighborhood necessarily mean an expensive, and usually segregated one?

Even gays and lesbians, who have earned a reputation as being one of the first urban pioneers (one might say colonizers) to take some previously nitty-gritty areas like Castro Street and Halsted Street, and make them safe spaces (in the meantime doing themselves the physical labor of rehabbing), aren't always the direct beneficiaries of their labors.

Now younger LGBT persons are once again trying to make their living on and in the physical and economic margins, but often without that funky edginess their ancestors experienced in the nitty-gritty, big bad city where there was an all-night unique diner on every corner and your eccentric landlady with her purple wig who you knew personally might invite you over for a nightcap.

Mainstream film/television and porn director Tom DeSimone (also credited as Lancer Brooks) was one of the major figures who helped to form the adult industry in the 1970s, during the birth of hardcore pornography as a film genre. Initially shooting films for Shan Sayles of the Park Theatre in the L.A. area, DeSimone made some of the earliest gay porn films within the burgeoning industry, including the very first plotted, feature-length gay porn film, The Collection (1969). DeSimone's porn films typically centered around stories and he made technically high-quality productions - well-made narrative movies with developed characters and performers cast to suit their roles - that showed care for the craft.

Over the span of his porn filmmaking career, which also included sexploitation and bisexual films, DeSimone worked with many important contributors to the industry, including performers Gordon Grant, Al Parker, Jack Wrangler, Roger, Michael Christopher, David Ashfield, J.W King, and Fred Halsted, and filmmakers Nick Elliot, Jason Sato, William Higgins, and Jack Deveau. Deveau's New York-based studio, Hand in Hand Films, distributed several of DeSimone's films (Catching Up [1975], The Idol [1979], and others) and DeSimone also worked behind the scenes with Hand in Hand as the cameraman for three of their releases directed by Deveau (Ballet Down the Highway, Wanted: Billy the Kid, and Good Hot Stuff, all from 1975). (DeSimone extensively discusses his career in the newly released book, Good Hot Stuff, about Hand in Hand and Deveau.) DeSimone also made the historically notable film, Erotikus: History of the Gay Movie (1974), which is part documentary and part porn and which was released as a porn film and played in porn theaters.

DeSimone was one of a small number of individuals from the porn industry who successfully moved into working in mainstream film and television. (See the correction in our previous Casey Donovan blog, which left out mentions of those who did cross over into mainstream work.) This included Hell Night (1981) starring Linda Blair, Reform School Girls (1986) starring punk musician Wendy O. Williams, and extensive television work. (See the bottom of this blog for Tom DeSimone's filmography and links to his movies.)

DeSimone recently answered some questions about his career, which we are excited to share in this week's blog, the first of two installments, this one focusing on his introduction to filmmaking and directing porn films.

Bijou: What are some of your favorite films?

DeSimone: I can't really pick one favorite film out of the thousands I've seen and hundreds I love. On the list are Duel in the Sun, The Letter, 8 ½, The Little Foxes, The Rose Tattoo, Atonement, Pennies from Heaven, Incochine... so you see, I have a lot of favorites. A “favorite” is any film I can watch over and over and never tire of and also one in which I continue to find more and more elements of pleasure each time I view it. Among this list, The Letter is probably my most watched film and it never gets boring and I never cease to discover something new each time.

Bijou: Did you make short films while in school for film? What were those like?

DeSimone: At UCLA, where I got my master's degree, I made three short films. One of them, Wooden Lullaby, won best director at the Cine Film Festival in Washington D.C. Another, The Game, won me a scholarship to complete my studies in graduate school. Both films were screened for the public in the Annual Student Film Programs at UCLA. My film, The Game, got me an interview with Columbia Pictures at the time... but nothing came of that beyond the meeting.

Bijou: What were your goals and philosophy towards making your porn films (especially as one of the people who helped to form hardcore as a genre)? Did those persist or did they change over time as you continued to work in film?

DeSimone: Going into it, I didn't really have a philosophy. That came later. I got started because after film school there just wasn't an easy way to break into the Hollywood firmament. Film students back then weren't being sought after as they are now. I was tired of waiting tables and taking actors' portraits for their resumes.

At that time, adult film theaters were just starting to come out in the open. But they were all straight porn. No one was openly screening gay stuff. Then came the Park Theater near downtown L.A. They were showing “gay loops.” A loop, in the business then, was a short film, no plot or acting but just quickies featuring nudity and not much else... there was NO sexual activity, just implied, like holding hands, walking on the beach, or hugging at sunset... or looking longingly into each other's eyes while reclining – all sorts of innocent attempts to convey gay relationships or gay attraction. And NEVER erect!

Someone suggested to me that I might make a few bucks if I tried something. I contacted the Park Theater, got the name of the owner, and got myself an interview. Long story short, he told me to go shoot something and come back and see him and he'd decide if he was interested in me as a filmmaker. I did a short “loop” and loaded it with sexual activity... nothing hard core but definitely sexual love making... all shot discreetly, of course. I screened it for him and he hired me on the spot, built me a studio with cutting rooms, a sound stage, and anything I needed to turn out features for his theaters. That was the start of feature films for the gay market. That film was The Collection... followed by many more small, insignificant ones to fill the screen across the country at his theaters.

It wasn't until I started out on my own that I started to think about what I wanted to say or do with my films since, by now, I had created a career out of it all and was becoming known. (Or, at least, Lancer Brooks was.)

I soon discovered that films about “relationships” were most successful. So The Idol, Skin Deep, Catching Up, and also The Harder They Fall were huge successes. (The Harder They Fall was also released under a different title, The Frenchman and the Lovers.) I was interested in exploring gays in love or at least relationships. My stories pretty much gravitated to those situations. I was tired of all the films that started with the pizza boy delivering and ending up on the couch. That's not to say I didn't make a few of those, too. But when I really wanted to do something creative and when I got juiced up to do something, it always seemed to go to the relationship stories.

Bijou: Who was your producer (also credited as a performer in The Collection), Max Blue, from early in your career?

DeSimone: Max Blue was a pseudonym for my partner at the time, Nick Grippo. We often just used silly names on our films because in those days no one was using their real names for legal protection since it was still against the law to make these films. We were always hiding underground. He just pulled that one out of the air since there was a popular film playing then called The Blue Max and he liked it. I chose an even sillier name, Lancer Brooks (just totally made up), but fate took over. When we were meeting with the distributor who peddled our films to theaters, he said to be sure to use the same names we did on our previous one, because they liked our work and he could barter for more money if he told them it was from the same team... so we checked what we had used on our last feature and it turned out to be those two names.

Bijou: Did you shoot other films of Jack Deveau's besides the grouping from 1975: Ballet Down the Highway, Wanted: Billy the Kid, and Good Hot Stuff? Did you do much other film work in New York around that time or were you mostly working in L.A.?

DeSimone: After I did Erotikus and was shopping for a theater in New York, I met Jack. He was operating the 55th St. Playhouse at the time and was running the very successful Boys in the Sand, so he was looking for something to follow it up since he knew it couldn't run forever and he needed product to keep the theater operating. We met, he looked at the film, and was interested in us working together on several projects. Jack was pretty inexperienced in filmmaking but wanted to get into the production side. He figured I could bring something to Hand in Hand. I spent a summer in New York working with him on several projects, then returned to L.A. and did The Idol for his company to release. We remained very good friends up until he passed way due to cancer. He was a great party guy – loved to party hard and long, into the New York underground scene, a lot of drugs and sex and a terrific guy to know... if you had the stamina!

Bijou: Did you know Penelope Spheeris (director of The Decline of Western Civilization and Wayne's World) around the time of Confessions of a Male Groupie (1971)? A couple who are the focus of two of her early short films (I Don't Know and Hats Off to Hollywood) appear in the party scene in Groupie. I was curious about the community of people who make up the cast of that film – I read somewhere that they were a community or group of friends you were affiliated with.

DeSimone: I met Penelope only once at a film festival in L.A. We spoke briefly about the emergence of underground films but we never were involved beyond that meeting. The two people you mention just happened to be in the party. I didn't know them personally.

That big party scene was the reason I made that film. I ran with a pretty eclectic crowd back then and many of the actors who appeared in my films were drawn from that crowd. Many others, who didn't really want to appear having sex in a movie, also wanted to be “in one of my films,” so I decided to make a film featuring all of the crazies I knew and loved. So The Groupie came about – and when I announced I wanted them to all appear in that scene, all hell broke loose and you can see in the film what we were all about. I should mention that, unfortunately - or not, I was on acid while we were filming that scene (most of us were), so I didn't cover as much as I wanted, but what I got was enough to throw together what's up on the screen.
 

Bijou: It's interesting to learn how many friends you worked with in your movies.

DeSimone: I rarely socialized with the models in my films if they weren't already part of my group. For a number of reasons I preferred not to get too involved in their lives and vice versa. If I used friends, they were already friends and in my social group. In Hot Truckin', the redheaded boy at the end – the one in the threeway – was my partner at the time. He was SO hot for Gordon [Grant], I agreed to let him be the trick they lured into the truck. Everyone was happy, particularly my friend, Bob.

My reasons for being separate, if I could, with the models was only because I didn't care to have them know too much about my life or where I lived, etc. I was strictly interested in them as models/actors. For me it was strictly a business situation. Very few outside my inner group even knew what I did or who Lancer Brooks was.
 

Bijou: I guess Groupie was a rare exception, as your film utilizing members of your friend group, in that case.

DeSimone: Yes, Groupie was an exception... but as I mentioned, I made it specifically to make a film and use many of my friends. Sweet Lady Mary was a dear friend, Elaine. The rock group, The Electric Banana, was another trio of buddies who fantasized about being a rock group, so I made them into one for the film. All the players were close friends who had wanted to be in a picture, so I concocted one so that I could use them. The party scene was the culmination of all the gang we ran with in West Hollywood at that time. Of course, there were several in the party scene who just showed up to be in the film. Sadly, 90% of them are gone now. The plague taking most, unfortunately. We had no idea then that what we were experiencing would have such consequences... who did? The cute redhead, Bob, was also a victim years later.
 

Bijou: How did you get such strong performances out of your porn actors who had no acting experiences?

DeSimone: Getting performances was always a challenge. I always blocked out all the action in my films in advance and also broke down the script, scene by scene, even indicating where the dialogue would be in close up, two shots, or masters. That way I could get what I needed to edit the film and the performances in a cohesive work. I knew these guys would never be able to carry an entire scene in a master shot (a mistake many filmmakers made back then). So I would film short sections, working with them on just those few lines at a time, then cover the scene with the other actor or actors in the scene, and it would all play together nicely. If one of them screwed up or was lousy, it was simple to shoot several takes of a close up until it was good, rather than shoot the entire sequence over and over. I was a master at editing and it was fun cutting together a performance from very little. Many times the actors would be amazed (and impressed) when they came to the screening to see the film.
 

Bijou: Which is your favorite of your porn films?

DeSimone: I guess I could say Catching Up, Skin Deep, and The Idol. These, to me, have good plots, good acting, and really decent production values for porn.

Read part two of this interview, focusing on on Tom DeSimone's mainstream film/television career!
 

Tom DeSimone's Partial Directorial Filmography:
(From IMDb and Gay Erotic Video Index)
Links to movies available through Bijou Video

The Collection (as Lancer Brooks) – 1969
One - 1970
Dust Unto Dust (as Lancer Brooks) – 1970
Peter the Peeker – 1971
Lust in the Afternoon - 1971
Gay Tarzan – 1971
Confessions of a Male Groupie – 1971
Black and Blue - 1971
The Gypsy's Ball - 1972
Prison Girls – 1972
Chained (as Lancer Brooks) – 1973
Swap Meat (as Lancer Brooks) – 1973
Sons of Satan (as Lancer Brooks) – 1973
Black Heat (as Lancer Brooks) – 1973
Games Without Rules (as L. Brooks) – 1974
Erotikus: A History of the Gay Movie (as L. Brooks) – 1974
Station to Station (as L. Brooks) – 1974
Everything Goes (aka Anything Goes) (as L. Brooks) – 1974
Duffy's Tavern (as Lancer Brooks) – 1974
Blue Movie Auditions (aka How to Make a Homo Movie) - 1974
Assault (as Lancer Brooks) – 1975
Sur - 1975
Good Hot Stuff – 1975
Aphrodisiacs in the Male Animal (1975)
Catching Up – 1975
Chatterbox! - 1977
Hot Truckin' (as Lancer Brooks) – 1978
The Harder They Fall (aka The Frenchman and the Lovers) – 1977
Gettin' Down (as Lancer Brooks) – 1978
The Idol – 1979
Bad, Bad Boys (aka Bad Boys) (as Lancer Brooks) – 1979
Hawaiian Eyes (aka Gay Guide to Hawaii) – 1979
Private Collection – 1980
Heavy Equipment (as Lancer Brooks) – 1980
Wet Shorts – 1980
The Dirty Picture Show (as De Simone) – 1980
Flesh and Fantasy 1 – 1980
Dirty Books - 1981
Hell Night – 1981
The Concrete Jungle – 1982
Skin Deep (as Lancer Brooks) – 1982
Bi-Coastal (as Lancer Brooks) – 1985
Bi-bi Love (as Lancer Brooks) – 11986
Nightcrawler: A Leathersex Fantasy - 1986
Reform School Girls – 1986
Angel III: The Final Chapter – 1988
Freddy's Nightmares (TV Series, 4 episodes) – 1988/1989
Super Force (TV Series, 6 episodes) – 1991/1992
Dark Justice (TV Series, 18 episodes) – 1991 - 1993
Swamp Thing (TV Series, 3 episodes) – 1992/1993
Acapulco Bay (TV series) – 1995
The Big Easy (TV Series, 4 episodes) – 1996/1997
Coming Distractions (as Lancer Brooks) – 1997
Pensacola: Wings of Gold (TV Series, 1 episode) – 1998
She Spies (TV Series, 1 episode) – 2002

The raid on Stonewall of course has become an iconic event because of its social and historical ramifications, but recently LGBTQ historians, including many who publicize history on social media platforms such as Twitter, have called attention to similar events before and after Stonewall. Often the goal of such histories is uncovering marginalized narratives of oppression and liberation that can frame our own interpretations of not just those people and events, but also give a valued context for the present-day legal, social, and cultural challenges to honor and justice that LGBTQ persons still face.

One raid which attained notoriety, mostly because it showed how the politics of the gay Chicago community was becoming very much intertwined overall with mainstream politics, occurred on September 12, 1985.
 

A group called NEMEG, Northwestern Metropolitan Enforcement Group, which consisted of officers from various north and northwestern suburbs, raided a popular gay bar, Carol's Speakeasy, located at 1355 N. Wells Street (that strip still at that point in LGBTQ Chicago history was the center of a vibrant gay nightlife). NEMEG was ostensibly looking for evidence of drugs and drug dealing.

According to David Boyer of Touche and Bijou and a noted figure in Chicago's gay community, who was then employed by Carol's (his first year as manager), the bar was hosting a wrestling promotion night: “We had put out mats on the dance floor and guys would challenge each other to wrestle. Had about maybe 50 or so people in the house.”

Also according to David Boyer, whose account I quote and paraphrase for much of this blog and which generally corroborates what even the conservative Chicago Tribune reported, the Chicago police were not involved; and, as one shall see, this is a most significant, telling detail.

David describes how this, I would claim, vigilante group “stormed the front door, guns drawn,” and that they also broke in through the back. These persons were not wearing any type of identifying uniform, and did not even identify themselves.

Everyone in the bar was forced to gather together and lay face down on the dance floor for a period of several hours. NEMEG members would hit or shove the face of anyone back down to the floor if they even unintentionally looked up.

NEMEG meanwhile searched the offices and serving areas behind the bars, looking for drugs. David mentions that they were even throwing around match books, claiming these contained packages of drugs.

In a manner reminiscent of pre-Stonewall raids, these persons took each person, questioned them, and, most significantly, photographed them. Everyone eventually was forced to leave the bar; no one was arrrested. David Boyer refused to leave after identifying himself as the manager, but they still did not inform him of their identity.

After what seemed an interminable time of chaos and violence, Chicago police did show up, but they did nothing to stop what was happening. Nothing; one could claim they were deliberately ignoring the many legal violations that were occurring for reasons ranging from homophobia to some unwritten code that forbade them from “telling” on their suburban officer comrades.

NEMEG did claim they found drugs on the premises, but they could not determine who brought them.

According to David, at the same time the raid occurred, a couple of employees were arrested at their homes and charged with drug dealing.

This incident did not end up being a narrative memory of injustice and degradation.

By the middle 1980s, the gay community in Chicago had gained enough political power, even during this uncertain time when AIDS was beginning to decimate its members.

Thus, those affected by this raid filed a civil lawsuit against these suburban officers, focusing on clear violations of the law, such as not identifying themselves as police and forcibly taking photographs of the bar patrons.
 

According to a report in the September 16, 1986 of the Chicago Tribune:
 

"This is one of the most massive violations of civil rights we have seen in Chicago in the last decade," said Harvey Grossman, Illinios legal director of the ACLU.

"Over 50 men were subjected to this course of conduct. They were all ordered to lie on the floor; they were subjected to illegal searches; they were interrogated against their will and required to disclose information about their backgrounds; they were all photographed and none was arrested.

"What the agents did was to take the occasion of serving an arrest warrant on the bartender and turn it into a raid on all who were present at the time," Grossman said.

By 1989, the parties reached an accord, according to a report in the August 18, 1989 issue of the Chicago Tribune. Harvey Grossman in this article makes a telling point: "Although gays have long been subject to police harassment, this is the first time a group of gay men has successfully joined together to obtain damages from law enforcement agencies," Grossman said.

The above is a story of injustice, but also a story of moral courage and faith that the justice system does indeed work, even against those who are supposedly responsible for upholding that its laws are enforced equitably and honorably. In this case, the human rights of the manager and patrons of Carol's were dishonored and dehumanized that night, and though the terms of the settlement did include financial compensation, the real issue is that no one is above the law, and this law is based on the premise that persons are innocent until proven guilty.

Currently, one cannot assume in the case of vulnerable, marginalized populations that their human rights will be respected, and that the justice system will uphold them. I think it's important, overall, to frame this raid as a #NeverAgainIsNow moment that the LGBTQ communities need to take to heart, not only as a warning, but as call for persons to emulate the moral courage David Boyer showed that night.

Sources: Chicago Tribune reports (see hyperlinks); eyewitness account from David Boyer received via email; https://slate.com/human-interest/2016/02/queer-clout-in-chicago-telling-gay-history-beyond-stonewall-and-the-castro.html

I got blocked on Twitter a while ago by a Roman Catholic bishop because I responded to a tweet about Michelangelo with a pretty general article on the sexuality of the famous artist Michelangelo. Michelangelo was gay. He liked guys. Especially guys with big muscles.
 

Now, during the Renaissance, the concept of sexual orientation had yet to be articulated or analyzed. Thus, Michelangelo, according to the social and religious norms of the time (usually the same), either performed sex acts with men (called sodomy due to an interpretation of the Sodom and Gomorrah story since deemed incorrect by current Biblical scholarship), and/or, perhaps more loosely, he loved men, young men (which does not necessarily imply sexual activity).

In this case, art imitates life, and Michelangelo, aiming to produce what he deemed to be an ideal mimesis of the body as revealing a primal strength and power coursing through creation, painted male bodies that rival the famous bodybuilders of the past, without the artificial steroid-induced bulk. (And even the women in the Sistine Chapel are muscular.)
 

This unabashed glorying in muscular nudes under the aegis of a commission to paint the Sistine Chapel ended up becoming a problem. Why? The Counter-Reformation not only reacted to the Reformation, but to some of what it deemed licentious excesses of the Renaissance, and much Catholic religious art ended up degenerating into fixed forms drawn in attitudes of pious sentiment. Hello, anemic Jesuses with bleeding hearts and heavily draped Madonnas gazing up at the clouds.

And, in the case of Michelangelo’s paintings, the Church authorities covered up the genitalia.

But, as one article I read recently reveals, Michelangelo’s Last Judgement shows that just covering up genitals does not literally erase any imagery that might induce those impure thoughts that might send one to hell.

In the midst of the Last Judgment, where a muscular beardless Christ resembling Apollo looks like he is a bad ass coming to whale on a rival gang, two men kiss. Mutually and fearlessly. (Even his mother is frightened.) And these are not the ones condemned to hell. These are two guys on the redeemed side, as opposed to, as the article claims, a reputed pedophile biting his genitals to hell.
 

Now, the men kissing need not imply sexual attraction, of course, depending on the cultural context. They could even be family members displaying affection. But it’s there, it’s there for the homosocial gaze, and I just wonder if Michelangelo was himself encoding, as it were, his own Last Judgement against a Counter-Reformation Church that viewed humanity as more fallen and sinful rather than filled with a holy energy that includes struggle and conflict but also surmounts it with a hope for a final vindication.
 

The history of the popular 1970s/1980s gay porn theater, the Adonis Theater - the setting and subject of the classic Hand in Hand Films release A Night at the Adonis (Jack Deveau, 1978) - is discussed in an article we recently came across at back2stonewall. The article states that the Adonis Theater was originally built as the Tivoli Theater in 1921. Initially a vaudeville house, it then became a movie theater before its final incarnation as a porn theater/cruising palace. The Adonis was such a hot venue in the 1970s that, the article states, “it was hard to find a seat... but that was all that was hard to find. Patrons would literally avoid the seats under the balcony's edge at busy times for fear of being showered with semen from high above.”
 

Deveau's film (which Bijou is excited to announce that we are currently finishing re-restoring for a new and improved re-release next week) is an incredibly well-made, hot, entertaining, and historically intriguing look at this venue. The film does an excellent job capturing - in attractive photography that roams the building as it follows its ensemble cast - the physical layout of the space and the atmosphere created there, as well as featuring the theater's actual staff (their real ticket taker appears in the film in a memorable cameo) and detailing its cruising and sex rituals.
 

An insightful IMDb review points to some other notable ways the film illustrates some of the nuances of New York City gay culture in the 1970s. Characters bump into each other and have roundabout connections at this particular night at the Adonis, and, through this, the film deals with “both the very local, small-town 'everyone knows everyone else' nature of the then queer community and the odd coincidences and synchronicities that can happen when cruising takes place.”

One of the lead characters (played by hunky Malo, of porn and mainstream film), passes up a pick up attempt by his boss (porn superstar Jack Wrangler) with the intention of staying home to read a hefty volume, Gay American History, but, as this review says, the book only “tells him tales of sodomites of fallen times who were persecuted, tortured, and murdered by the state; Malo's subsequent visit to the Adonis makes a new kind of American gay history, which is... itself a vanished, historical past now."
 

The review points out that Deveau's film manages to “communicate the ways in which human beings locate themselves in history and space, therein creating themselves through a shared culture” and how an ambitious new employee character embodies “a bit of a prophesy of the future, wherein gay normative self-images in the West will be shaped by business-studies kids out to make bucks from the new gay communities.”

A Night at the Adonis played at the Adonis Theater, itself, and the back2stonewall article quotes an internet posting about the unusual experience of watching it on that very screen: “it was rather odd to be in the exact theater that was being depicted... sort of a movie coming to life all around you. What was happening on the screen was also happening in real life as you were watching the film.”
 

A Night at the Adonis is one of NYC-based studio Hand in Hand Films' productions set in and about a specific gay New York City sex space/landmark. Another is Times Square Strip (1983), set at the Gaiety Theatre, which focuses on the on and off stage antics of the dancers at the Gaiety Male Burlesk.
 

Times, like Adonis, is an ensemble piece set over the course of one night, full of breezy, quippy dialogue, and - though it isn't as full a portrait of its location as is Adonis (it occasionally ventures outside the building for sexual escapades) – it spends considerable time depicting the performances taking place on stage.
 

Wikipedia notes that The Gaiety Theatre was open for nearly 30 years, from 1976 until 2005, and, according to a 2005 New York Times article, attracted mainstream attention “after photos of Madonna and some of the club's dancers were included in her book Sex (1992).” These visitors included John Waters, Divine, Andy Warhol, RuPaul, Diane Keaton, and Shirley MacLaine. The club had an “unrivaled ability to survive, despite the strict zoning laws instituted during the Giuliani administration, thanks to a location just outside a restricted area.” Wikipedia also mentions a few well-known dancers who performed at the theater, including porn stars Joey Stefano, Johnny Harden, Kip Noll, and Leo Ford.

The Adonis Theater, however, did not survive New York City's changes to Times Square, with Mayor Ed Koch “using the AIDS epidemic to clean up Times Square” and “trying to get the theater closed down to tidy it up for the building of the monolith Worldwide Plaza, soon to be built on the next block.” The Adonis attempted to relocate to another theater building at this time, but did not last long there and this second Adonis was closed “in 1994 by the City's Health Department after a raid revealed high-risk sexual activities taking place among patrons.” The original Adonis was demolished in 1995, though a vivid portrait of what it once was remains in Deveau's classic film. In watching it, you almost feel as if you are there.