7 Years with Colt Model MARK RUTTER

By Josh Eliot

 

I popped into work to see how editing was going on my movie Easy Riders. Chet Thomas was the post-production supervisor and a good friend. I mentioned to him that I was asked out on a date by a bartender from the Gold Coast, a bar in West Hollywood. He asked me which one and I described him. “Oh my God, you know who that is don’t you?” And I was like, “What?” He jumped up and started rummaging through a large plastic bin, throwing magazines left and right. He stopped when he found Pit Stop magazine from Surge Studios. On the cover was Al Parker and Mark Rutter and inside was a full layout of hardcore shots. “Is that him?” Chet asked while I did a double take, “Yes!” Chet went on to tell me the history of my mystery date. After shooting the layout for Al Parker’s magazine, Mark Rutter was introduced to Jim French and was signed as an exclusive film model with Colt Studios.

 

Pit Stop magazine: Al Parker and Mark Rutter

Pit Stop magazine: Al Parker & Mark Rutter

 

His scenes are in:
Genuine Leather - scene 1 with Joe Falco
Best of Colt Films 1 & 2 - scene 9 with Rocco Rizzoli (aka Giorgio Canali)
Best of Colt Films - 1 & 2 scene 7 with Ed Wiley
Best of Colt Films - 3 & 4 scene 6 with Clint Lockner
Best of Colt Films - 5 & 6 scene 6 with Hank Ditmar
Vault Classics - scene 6 with Bill Eld, Dick Trask and Long John

 

Colt models Clint Lockner and Mark Rutter

Colt models Clint Lockner & Mark Rutter

 

I was nervous as hell for this date because in the magazines he definitely looked like a bad ass, even though when I met him a few days earlier at a house party held by the Gold Coast manager, Karl Etheridge (Melissa Etheridge’s uncle), he was really nice and easy to talk to. It turns out he was nervous too, so he invited his friend Valerie (ex-mayor of West Hollywood) and her girlfriend to join us. We met at a bar called Rafters in WeHo and all got along great. We had lots of fun and drinks, and of course I wasn’t about to not go home with him on the first date - that would just be foolish. He seemed to know everybody, no matter where we went, and even managed to get himself a walk-on scene with Donald Sutherland and Leslie Ann Warren in The Great Train Robbery. Early on, he surprised me with a camping trip, but when we got there I discovered it was a huge group site with the Satyrs Gay Motorcycle Club. He would always shock me with things like that. The weekend was bizarre and quite intimidating!

 

Mark Rutter on the Great Train Robbery set and Mark and Josh camping with Satyrs Motorcycle Club

Mark on the Great Train Robbery set (top); camping with Satyrs Motorcycle Club (bottom)

 

Within two months, we moved in together. I was 29 and he was 41, but that never made me question our relationship. Mark had never lived with a boyfriend or partner, so this was huge for him. It took a ton of persuading because he had always been very independent, doing exactly what he wanted to do with no one to answer to. Let’s just say he moved in kicking and screaming, but shortly afterwards admitted it was the best decision. His cat Boba Leni got along with my cats Elvira and Little Ricky, and we lived as one big happy family for years. He continued his job as bartender, which was perfect for him because he was very social, and he never had anything negative to say about my work with Catalina Video (but he did refuse to do any kind of cameo in my movies). We took great vacations to Puerto Rico, Canada and San Francisco to visit his family. His mom is super sweet and only spoke French, so Mark translated. He was the best uncle to his twin nephews, and won over my mom and dad too.

The majority of our relationship was smooth sailing, always progressing and moving forward. Until 1994, when Mark and I attended the Gay Erotic Video Awards. It was going to be a pretty big night, as the movie Revenge of the Bi Dolls was up for numerous awards. Things were going well until former Catalina star Kevin Williams (Hot Rods: The Young and the Hung II) came over to our table. He started talking to Mark, who became uncomfortable and got up from his seat, walking Kevin over to the side. I was like, what the fuck is this? I had never met Kevin Williams, and as far as I knew neither had Mark. I went to the bar and caught up with Chi Chi LaRue, where we did kamikazes. When Mark returned to the table, I joined him and started quizzing, which I wish I hadn’t. After much push and pull, he told me that Kevin was at the Gold Coast the other night where he cornered him in the bathroom…. so he let him suck his dick. What!!! I was really kind of shocked and pissed. Sure, he sucked your dick, that’s all that happened? Right! The rest of the night turned to shit, I had many more shots and when they called my movie as winner for Best Bi-Sexual Picture, I went up on stage and made a complete ass of myself. It was like that scene from Gaga’s A Star Is Born, but at least I didn’t piss myself. I rambled on and on and on, the depravity haunted me for weeks. Some comedian co-host named “Ant” basically whisked Sharon, Chi Chi and myself offstage because, yes, I verbally graveled to them in the audience until they came up on stage! Yuk! Sally Field had nothing on me. Mark felt badly for hurting me and really worked hard to win back my trust.

 

Josh and Mark at the awards show and the following Thanksgiving

Josh & Mark at the awards show (top); the following Thanksgiving (bottom)

 

Around 1998, Mark started having medical issues and his body started breaking down. When he was diagnosed with CMV and dementia, he lost his job at the Gold Coast, which sent him into a great depression. Catalina allowed me to set up an editing suite so I could work from home and look after him as things regressed. Early morning on January 13, 1999, I was awakened by a beeping noise from his bedside monitor. CMV caused him to lose his sight a couple days prior and he was on morphine. I turned the light on and leaned over to see if he was okay, and saw his eyes wide open. I jumped on top of him and started shaking him, begging him to wake up, to come back, but after a moment I realized he was gone. I jumped off the bed, let out a blood curdling scream and fell to the floor, unable to do anything but wail for the longest time. The worst moment in my life. I am thankful that I was lying by his side when he passed at age 48.

We held his ashes until summer and buried him over his father’s grave in a beautiful seaside cemetery in Maine. Mark Rutter was an amazing man, adored by his friends and family, and I wanted to honor him with this record of our time together.

 

Mark Rutter on the cover of Colt Men

Mark Rutter on the cover of Colt Men

 

Thank you to Josh Eliot for use of the photos.

Bio of Josh Eliot:

At the age of 25 in 1987, Josh Eliot was hired by Catalina Video by John Travis (Brentwood Video) and Scott Masters (Nova Video). Travis trained Eliot on his style of videography and mentored him on the art of directing. Josh directed his first movie, Runaways, in 1987. By 2009 when Josh parted ways with Catalina Video, he'd produced and directed hundreds of features and won numerous awards for Best Screenplay, Videography, Editing, and Directing. He was entered into the GayVN Hall of fame in 2002. 

 

You can read Josh Eliot's previous blogs for Bijou here:

Coming out of my WET SHORTS
FRANK ROSS, The Boss
Our CALIGULA Moment

That BUTTHOLE Just Winked at Me!
DREAMLAND: The Other Place
A Salty Fuck in Saugatuck
Somebody, Call a FLUFFER!
The Late Great JOHN TRAVIS, My POWERTOOL Mentor
(Un)Easy Riders

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The Backstory of Peter de Rome's THE DESTROYING ANGEL Revisited

 Posted by guest blogger Miriam Webster

Vintage poster for The Destroying Angel

For today, I wanted to resurrect an old blog I wrote on my personal favorite movie in Bijou's catalog (and one of favorite movies in general), the 1976 Hand in Hand Films classic The Destroying Angel, which insightfully and provocatively examines one man's internal conflict over his sexuality and his place in the Catholic church. The film follows a man on sabbatical from his priestly studies who becomes - in this case, literally - fragmented into two selves in his inability to reconcile his sexual desires with his call to the cloth, while having a series of bizarre sexual experiences under the influence of psychedelics.

The Destroying Angel images

"It started with the thought that gay films had been made in various forms, but that they hadn't yet tackled the horror genre," starts celebrated gay porn auteur Peter de Rome's backstory write-up on his truly unusual 1976 horror/porn hybrid, The Destroying Angel - an entertaining, disturbing, and hallucinatory film about Catholicism, sexuality, doppelgangers, and psychoactive mushrooms. "Almost at the same time came the idea to write a story about twins - one that had been lurking in the back of my mind for a long time."

Peter de Rome and Jack Deveau on the set of The Destroying Angel
Peter de Rome and producer/cinematographer Jack Deveau on the set of The Destroying Angel

British filmmaker Peter de Rome, who passed away in 2014, was the subject of the 2016 documentary, Peter de Rome: Grandfather of Gay Porn. His work, which is both avant-garde and explicitly gay and erotic, has been widely critically recognized and written about in recent years. Working independenly on shorts in the late '60s/'70s and then with Hand in Hand in New York City in the early days of hardcore, de Rome's body of work consists of many short films and two features (1974's fascinating Adam and Yves, shot in Paris and featuring the last known footage of Greta Garbo, along with The Destroying Angel).

Vintage Adam and Yves poster

Eight of his shorts made between the years 1969 and 1972 (notably, the well-known Underground, which depicts a real sex scene shot on an active NY subway train) make up the collection The Erotic Films of Peter de Rome, released by Hand in Hand Films as the follow-up to their innagural film, Left-Handed. (For more of the studio's history, read our interview with editor/co-founder Robert Alvarez, our blog on Hand in Hand, and the 2019 book Good Hot Stuff: The Life and Times of Gay Film Pioneer Jack Deveau.) Hand in Hand also released de Rome's two features and included a few more of his short films in their compilations In Heat and Private Collection.

The Erotic Films of Peter de Rome poster

De Rome was an atypical pornographic filmmaker, largely because he had little interest in the straight-forward depiction of sex or the conventions of pornography, prefering to focus on exploring a broad, suggestive, and multi-dimensional look at sexuality through his filmmaking. "My feeling is for eroticism. And that, for me, is 'leading up to the sex.' Once you're at the sex stage it can quickly get terribly boring," he told HIM Magazine. "For me, a lot of the arousal is in the mind and the imagination. That is what really turns me on. Most of my ideas, therefore, are concerned with how we get there."

Peter de Rome directing Destroying Angel stars Tim Kent and Philip Darden
Peter de Rome directing Destroying Angel stars Tim Kent and Philip Darden

In an interview with In Touch Magazine, de Rome elaborated, "I think that we've barely scratched the surface of pornography in filmmaking, and that it has become a sort of mandatory thing in sex films to show a positive view of sex and all of sex is supposed to be the ultimate, the pinnacle of excitement, and life simply isn't like that. It seems to me that sometime we've got to get honest about sex and admit to ourselves that very few sexual encounters do work out agreeably or are completely successful. And that's one of the reasons that I did the first scene in Destroying Angel as a 'down'; it was meant to be an unsuccessful sex trip. I have a very simple if not simplistic attitude toward sex films, and that is that sex is just as much a part of life as living, eating, breathing, sleeping - it's just another function of life and I don't see why it can't be depicted dramatically just as those other funcitons are and as honestly, too. And I think we have to show every aspect of sex in films before we can really say we are making sex films."

Bill Eld in a Destroying Angel publicity photo
Star Bill Eld in a Destroying Angel publicity photo

Hand in Hand's press sheet on The Destroying Angel discusses the elaborateness and complexity of the production. It was shot in ten days, with twenty-two scenes in nineteen different locations "from Montauk Point to The Spike [a NYC gay bar] to Christopher Street to Brooklyn to an eighteenth century cemebery in a forgotten spot in rural New Jersey." The Spike sequence includes a barely-discernable cameo from Peter Berlin in the background. Though he's hard to spot in the film, itself, there are a few clear behind the scenes photographs of him on set.

Peter Berlin in The Spike during The Destroying Angel's filming
Peter Berlin in The Spike during The Destroying Angel's filming

The press sheet also mentions that post-production took a considerable time to complete - about a year - and cites some of the filmmaking challenges present during production, primarily finding a double for the lead (Kent) with an identical body but larger cock, and shooting and constructing the doppelganger threeway scene through camera and editing tricks.

Slating, recording sound, and Peter de Rome with Tim Kent and his body double
Slating, recording sound, and Peter de Rome with Tim Kent and his body double

Hand in Hand make-up artist prepping Tim Kent, his body double, Philip Darden, and Bill Eld
Hand in Hand make-up artist Gene Kelton prepping Kent, his body double, Darden & Eld

In Peter de Rome's backstory write-up from our files, 'Genesis of The Destroying Angel,' he goes further into the film's origin story:
 

By chance, I happened to read John Allegro's fascinating study, The Sacred Mushroom and the Cross, that seeks to equate Jesus Christ with a mushroom, the Amanita Muscaria. This, in turn, led me to R.G. Wasson's Soma: Divine Mushroom of Immortality, which traces the same mushroom to the Soma plant in the ancient Rigveda of India. The whole incredible story seemed to me to be a natural for erotic treatment. But how to blend the two ideas together?

I sat down at the typewriter and looked up at the painting hanging on the wall before me. It could have been a portrait of myself, except for the way he was clothed and the caption underneath: Edgar Allan Poe. Was this a sign? Maybe, but inspiration eluded me. So I went back to his stories and, sure enough, there was the answer.

Peter de Rome in front of a portrait of his look-alike, Edgar Allen Poe
Peter de Rome in front of a portrait of his look-alike, Edgar Allan Poe

"William Wilson" provided just the sort of structure I was looking for with one important change: the twins became one troubled young man and his alter ego. A few scenes in the film are direct parallels to the story, but mostly only the structure is retained.

And then, because of the religious aspect of the mushroom story, it seemed logical to make the principle character a young priest, sorely tempted beyond his means to resist.

Destroying Angel stills featuring Tim Kent as the priest

The urination scene derives from the hypothesis that the sacred plant called the Soma in the Vedic culture was, in fact, a hallucinogenic mushroom, a plant with miraculous inebriating virtue, enjoyed both by the peoples of the Valley of the Indus and the cattle they tended. The juice of the Soma had a similar intoxicating effect on the animals, and is excreted still in its purest form in the urine, only to be ingested once more by the peasants. This way they could stay high for days!

 

[This likelihood of this urine-drinking claim of Wasson's has been debated, but it seems to have caught de Rome's piss-fetishistic interest (piss-drinking also makes a tiny appearance in Adam & Yves).]

The hallucinatory piss orgy from The Destroying Angel
The hallucinatory piss orgy from The Destroying Angel

Orgy scene cast
Orgy scene cast

De Rome's write-up concludes:
 

Small wonder that the sun became a compelling metaphor for the gleaming red-topped mushroom, and the urine its golden rays.

Destroying Angel still featuring a mushroom, knife, and cross necklace

The Destroying Angel has a heavy focus on religious themes, and this was hardly first time de Rome tackled these in his films. Adam and Yves features a masturbation sequence (starring muscular Bill Eld, who also plays a prominent role in The Destroying Angel) in an 11th century French chapel, and two films in The Erotic Films of Peter de Rome (The Second Coming and Prometheus) also come to mind. Prometheus, a sort of reinterpretation of the Greek myth, focuses on a man who is brutally used by a group of strangers ushered into a room by a figure resembling Christ. The Second Coming starts off as a lark, as two men (one played by Peter de Rome, himself) travel across Europe, collecting clues that lead them from city to city. One of them winds up in an old village, where he wanders into a cathedral. A group of men are huddled together inside, looking at what initially appears to be a large crucifix on the wall in front of them. However, the figure on the cross moves - it is not Christ, but a live nude man mounted there, who ejaculates, hands free, all over his own torso.

Image from Prometheus
Image from Prometheus

Peter de Rome and Bill Eld on The Destroying Angel's set
Peter de Rome and Bill Eld on The Destroying Angel's set

The Destroying Angel - a film that is simultaneously complex and campy, hot and disturbing - was de Rome's final feature, as he was, at this point in his career, growing uninterested in the increasingly graphic sexuality being demanded in pornographic films by producers and audiences. This film (referred to as "a mess but a masterpiece" by Rupert Smith) spends a larger portion of its running time on sex scenes than does Adam and Yves or most of the rest of de Rome's work, but this is not to say that it abandons de Rome's preference for erotic imagination and the underpinning motivations and forces behind sexual acts. Its sex scenes are very unlike most others, growing organically out of the lead character's inner states, becoming increasingly surreal and deconstructed over the course of the film, and serving as the means of relaying the film's themes and character development; they are integral to the movie, not diversions from the plot. And The Destroying Angel fully fuses the genres it is tackling - its sex scenes are horror scenes, making it one of porn's best and most effectively creepy horror entries.

Images from The Destroying Angel's doppelganger threeway
Images from The Destroying Angel's doppelganger threeway
Images from The Destroying Angel's doppelganger threeway

The sexuality depicted in the film is complicated, conflicted, compulsive; the priest character's internal struggle - rooted in religion and made terrifyingly manifest by way of hallucinogens - the source. Psychological and emotional concerns are primary within the sex scenes, which serve as the narrative, helping to make the full runtime of the film engaging as a piece of cinema (particularly as brought to life through its compelling performances, Jack Deveau's expressive camerawork, Robert Alvarez's trippy, frenetic editing, and the evocative music selections). Porn certainly needn't operate on all of these levels in order to be interesting, hot, or significant, but the multi-layered, experimental, and cinematic work of Peter de Rome is a unique and compelling type of pornographic filmmaking.

Illustration from Peter de Rome's Destroying Angel script
Illustration from the cover of Peter de Rome's Destroying Angel screenplay

Learn more about the backstory of this classic (including other interpretations of the film's meaning) in the Ask Any Buddy podcast episode on it.

You can watch the trailer for The Destroying Angel at BijouWorld, where you can also read more about its storyline and get the full movie on DVD, or go to our Video on Demand site to stream it! Bijou also carries Peter de Rome's other films released by Hand in Hand on DVD and Streaming.

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Classroom Porn

posted by Madame Bubby

The Bigger the Better images
Rick Donovan & Matt Ramsey (aka Peter North) in The Bigger the Better

“Hi, Professor. I am for extra help with the assignment, said the young blond jock with the tight buns accentuated by the tight Levis.

I think you need more help than that, said the hot daddy bearded muscle hunk professor dressed in a sharp business suit.

The professor puts his hand on the student's thigh.”


Yes, the above is a pretty lame attempt at the genre of classroom porn. But it's easily recognizable, not just the inevitable sex that usually occurs in a public or semi-public institutional space, but the power dynamic.

Where I teach (a college) and pretty much everywhere, one can assume that students are not part of the dating pool. Of course not all teachers have abided by this rule, some fairly egregiously, especially those in positions of great power in the academic field.

In one interesting case, a famous woman professor, Arvita Ronell, was accused of sexually harassing a gay male student. It’s a case definitely out of the norm, where a powerful cis heterosexual male teacher sexually harasses a younger cis heterosexual female student.

Yet it reveals nonetheless that a spectrum of predatory sexual behavior can and does exist, and that no matter what the specifics of the case, institutional structures that are based on hierarchy often encourage such boundary violations. One taboo generates another taboo.

Toby Ross, whose pioneering films glorified youthfulness, seems to in many of these films to flaunt sexual and social taboos. When a teacher does gets involved in their sexual activities, the power dynamic is already levelled. For example, in Reflections of Youth, Big Bill Eld, the gym teacher, is primarily there as a Priapus figure who towers above the hot young studs literally; he likes to get on the desk and masturbate his gigantic cock.
 

Bill Eld in Reflections of Youth

In Toby Ross' flick Classmates, the institutional space becomes the home of the teacher. When a sexy college student crashes at his art teacher's house, the sexual attraction is palpable but unspoken. The student feigns sleep while the teacher's mind races with images of the student fucking his ass with long, smooth, deep strokes. When the student's hard-on edges out of his boxer shorts, the teacher (nerdy but sexy) tentatively takes it in his hand and proceeds to jack him off. Still fantasizing, the teacher then jacks himself off. Tension -- release -- sleep. This realistic scene is played and edited beautifully.
 

Classmates box cover

In the Nova classic Kept After School, one sees the classroom porn genre treated with a humorous edge. Handsome teacher keeps students after school, and they aren't getting punished. He falls asleep, and an orgy ensues. He loses his power to the student's overwhelming sexual power.
 

Kept After School images
Images from Kept After School

In The Academy, by Hawk Productions, a military school teacher is seduced by his two students. A student fantasizes about the porn icon Roger. And much, much more.
 

The Academy images
Images from The Academy

And often teacher-student relationship becomes subsumed into the spanking fetish. In the Man's Hand video A Lesson Well Learned, the title pretty much self-explanatory. Naughty “boys” get spanked by coaches (and each other).
 

A Lesson Well Learned image
Image from A Lesson Well Learned

Overall, here’s the rub: reality and fantasy of course aren’t the same, and the teacher/student sexual fantasy has always been a major trope in erotic art, literature, and films, primarily heterosexual, and in many cases, the woman, strict headmistress or even nun, takes on the role of a dominatrix, punishing the “naughty boy.”

Thus, the teacher/student fantasy ends up involving often BDSM activity, accentuating the tension between what on one level many approve of as an affective/intimate relationship but one that is restrained by a public social order that pretty much proclaims, beyond this point you may not cross.

But crossing boundaries, breaking taboos one could say is precisely reason for the tension-release dynamic of porn in all its manifestations.

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Featured

The Backstory of Peter de Rome's The Destroying Angel

 BY MIRIAM WEBSTER, special guest blogger

 

The Destroying Angel poster


"It started with the thought that gay films had been made in various forms, but that they hadn't yet tackled the horror genre," starts celebrated gay porn auteur Peter de Rome's write up on his truly unusual 1976 horror/porn hybridThe Destroying Angel - an entertaining, disturbing, and hallucinatory film about Catholicism, sexuality, doppelgangers, and psychoactive mushrooms. "Almost at the same time came the idea to write a story about twins - one that had been lurking in the back of my mind for a long time." 
 

British filmmaker Peter de Rome, who passed away in 2014, was the subject of a recent documentary, Peter de Rome: Grandfather of Gay Porn. His work, which is both avant-garde and explicitly gay and erotic, has been recognized by the British Film Institute and written about extensively in recent years. Working primarily in New York City in the early days of hardcore, de Rome made two features (the fascinating 1974 film Adam and Yves, shot in Paris and featuring the last known footage of Greta Garbo, along with The Destroying Angel), and a number of short films. 
Adam and Yves poster

Eight of his shorts made between the years 1969 and 1972 (notably, the well-known "Underground," which depicts a real sex scene shot on an active NY subway train) make up the collection The Erotic Films of Peter de Rome, released by Hand in Hand Films.

 

Hand in Hand also released his two features and included a few more of his short films in their compilations In Heat and Private Collection
 

The Erotic Films of Peter de Rome poster

De Rome was an atypical pornographic filmmaker, largely because he had little interest in the straight-forward depiction of sex or the conventions of pornography. Rather, he was interested in exploring a more multi-dimensional look at sexuality through his filmmaking. "My feeling is for eroticism. And that, for me, is 'leading up to the sex.' Once you're at the sex stage it can quickly get terribly boring," he told HIM Magazine. "For me, a lot of the arousal is in the mind and the imagination. That is what really turns me on. Most of my ideas, therefore, are concerned with how we get there." 

 

Peter de Rome directing stars Tim Kent and Philip Darden

In an interview with In Touch Magazine, de Rome elaborated, "I think that we've barely scratched the surface of pornography in film making, and that it has become a sort of mandatory thing in sex films to show a positive view of sex and all of sex is supposed to be the ultimate, the pinnacle of excitement, and life simply isn't like that. It seems to me that sometime we've got to get honest about sex and admit to ourselves that very few sexual encounters do work out agreeably or are completely successful. And that's one of the reasons that I did the first scene in Destroying Angel as a 'down'; it was meant to be an unsuccessful sex trip. I have a very simple if not simplistic attitude toward sex films, and that is that sex is just as much a part of life as living, eating, breathing, sleeping - it's just another function of life and I don't see why it can't be depicted dramatically just as those other funcitons are and as honestly, too. And I think we have to show every aspect of sex in films before we can really say we are making sex films." 

 

Bill Eld in a Destroying Angel publicity still

In his film backstory, 'Genesis of The Destroying Angel,' de Rome continues: 

By chance, I happened to read John Allegro's fascinating study, The Sacred Mushroom and the Cross, that seeks to equate Jesus Christ with a mushroom, the Amanita Muscaria. This, in turn, led me to R.G. Wasson'sSoma: Divine Mushroom of Immortality, which traces the same mushroom to the Soma plant in the ancient Rig Veda of India. The whole incredible story seemed to me to be a natural for erotic treatment. But how to blend the two ideas together? 

I sat down at the typewriter and looked up at the painting hanging on the wall before me. It could have been a portrait of myself, except for the way he was clothed and the caption underneath: Edgar Allan Poe. Was this a sign? Maybe, but inspiration eluded me. So I went back to his stories and, sure enough, there was the answer. 

Peter de Rome in front of a portrait of Edgar Allan Poe
Peter de Rome in front of a portrait of Edgar Allan Poe

"William Wilson" provided just the sort of structure I was looking for with one important change: the twins became one troubled young man and his alter ego. A few scenes in the film are direct parallels to the story, but mostly only the structure is retained. 

And then, because of the religious aspect of the mushroom story, it seemed logical to make the principle character a young priest, sorely tempted beyond his means to resist. 

Tim Kent as the priest, looking distressed and wearing a cross necklace
Man standing before a portrait of Poe and a cross
Tim Kent's face as he's fucked by Bill Eld

The urination scene derives from the hypothesis that the sacred plant called the Soma in the Vedic culture was, in fact, a hallucinogenic mushroom, a plant with miraculous inebriating virtue, enjoyed both by the peoples of the Valley of the Indus and the cattle they tended. The juice of the Soma had a similar intoxicating effect on the animals, and is excreted still in its purest form in the urine, only to be ingested once more by the peasants. This way they could stay high for days! 

Destroying Angel piss scene

Small wonder that the sun became a compelling metaphor for the gleaming red-topped mushroom, and the urine its golden rays: 

Pass on me the flowing Soma
Divine Inebriant - Holy Water 

Urinate your juices on me
Fruit of my esoteric dreams 

Hari Krishna - Flaming Fungus 

Spill yourself onto the belly of Indra
Penetrate my entrails, enter into my heart
O Soma juice, light of the sun. 

Red-topped mushroom and knife

The Destroying Angel was hardly first time de Rome tackled religious themes in his films - this seemed to be a particular fascination of his. Adam and Yves features a masturbation sequence (starring Bill Eld, also of The Destroying Angel) in a chapel and two films in The Erotic Films of Peter de Rome, "The Second Coming" and "Prometheus," also come to mind. "Prometheus" (also with its obvious mythological connections) focuses on a man who is used and abused by a group of men, ushered into the room by a figure who resembles Christ. "The Second Coming" starts off as a lark, as two men (one played by Peter de Rome, himself) travel across Europe, collecting clues that lead them from city to city. One of them men winds up in an old village, where he wanders into a cathedral. A group of men are huddled together inside, looking at what initially appears to be a large crucifix on the wall in front of them. However, the figure on the cross moves - it is not Christ, but a live nude man mounted there, who ejaculates, hands free, all over his own torso. 

 

Passed out man carried away at the end of Prometheus

The Destroying Angel - a film that is simultaneously complex and campy, hot and disturbing - was de Rome's final feature, as he was, at this point in his career, developing a distaste for the increasingly graphic sexuality demanded by producers and audiences. This film (accurately referred to as "a mess but a masterpiece" by Rupert Smith) spends a larger portion of its running time on sex scenes than does Adam and Yves, but this is not to say that it abandons de Rome's preference for imagination and eroticism over explicitness. Its sex scenes are unlike any others, becoming more and more surreal and deconstructed over the course of the film. The Destroying Angel fully fuses the genres it is tackling - its sex scenes are horror scenes. 

 

Frightening sex scene
Frightening sex scene


 

 

 

The sexuality depicted is complicated, conflicted, anguished, compulsive; the priest character's internal struggle, rooted in religion and made terrifyingly manifest by way of hallucinogens, the source. Psychological and emotional concerns are primary within the sex scenes and the sex scenes do not function as durational necessities but, rather, they serve asthe narrative and as the method of conveying the thematic material, helping to make every moment of the film thoroughly watchable as a piece of cinema. 
 

The Destroying Angel art

 

 
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