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Jack Deveau was one of the major directors, producers, and distributors of gay porn from 1972 to 1982. He made films that were “literate, artistically ambitious and, of course, sexually hot” (Mandate); shot films in Paris, Fire Island, NYC, and Woodstock, NY; and helped to launch careers in gay porn for countless writers, directors, actors, and musicians. Hand in Hand Films, the studio co-founded by Deveau with Robert Alvarez and Jaap Penraat, was referred to as “the M.G.M of gay porno” (with Deveau dubbed “the Louis B. Mayer”) and was known for making and distributing many high quality productions.

Jack was born in Manhattan, New York on January 25, 1935. He attended Cornell University, Sir George Williams College, and McGill University. In the early '70s, he was working at an architecture and graphic design business and – with his business partner, renowned architect/designer Jaap Penraat – had developed several patents and co-authored a book. At this time, Jack's lover Robert Alvarez and their friend, Rebel Without a Cause actor Sal Mineo, suggested to Jack that he ought to get into making movies. Robert told Manshots, in a 1982 interview, that he knew Jack would be well-suited for this profession: “I thought he was a natural. I thought he had a kind of charisma, the ability to make people listen, to make people enjoy what they were doing... Whoever he set his sights on, he could somehow charm into doing anything or saying what he wanted. He was the kind of person who, literally, had a lot of tricks up his sleeve – because he'd studied magic [when he was young] – and he was used to dealing with people.”
 

Alvarez had become a film editor several years prior, working on underground/experimental films and documentaries and laying the music track for landmark early gay hardcore film Boys in the Sand (Wakefield Poole), which Jack also helped to promote. Alvarez wanted to make a film with Jack “because from the beginning I wanted us to work together. That's part of what the relationship meant to me. I just wanted him around all the time.” Jack had seen some of his friends producing porn films and making a profit from them, but he was still unsure about being in the movie business. Sal convinced Jack to accompany him to a production meeting for one of his upcoming films. “I didn't really know what he had in mind,” said Jack, “but I went and sat quietly in a corner while a room full of film executives said some of the dumbest things I'd ever heard. I thought, I could do better than that, so with a little more encouragement, I became a film producer.”

Deveau, Alvarez, and Penraat formed New York-based studio Hand in Hand Films in 1972 with the aim of creating an alternative to the minimally plotted West Coast gay films that made up the majority of what was being produced. They wanted to create a definite East Coast look and feel and to produce artistically and narratively strong releases. The studio began with the production of their first film, Left-Handed, a feature directed by Deveau and Penraat about a hustler who seduces, then dumps, a straight man.
 

Robert Alvarez remarked on the film's tone and themes to Manshots, saying “It's cynical in a way, because Jack was cynical in a way about a lot of gay relationships and things that happen in gay society... It had a real story to tell. It had characters you could identify with, whether you liked them or not. Like, the lead character is sort of a shit. It was a breakthrough in that sense because it had an anti-hero. It also had all the required elements to make it a hardcore film.” The film's budget – fairly large compared to what was being spent on gay porn films at the time – came from Jack, who sold his stocks and took out loans to pay for it.

Left-Handed was shot on 16mm on a Bolex, as were many later Hand in Hand films. Jack was the primary cinematographer for the films he directed as well as for several of their other productions by different directors. Alvarez referred to Jack as a “tinkerer” who had a background in still photography: “He knew about the exposures and focus and all that business... He knew how to take a camera apart and put it back together. He knew exactly what made it work.”
 

Left-Handed premiered at the Carnegie Hall Cinema, adjacent to Carnegie Hall, and was well-received, getting glowing reviews from Variety and a number of gay publications. The film ran for a time there and at the 55th Street Playhouse, also in NYC. Then Jack and Robert took “a cross-country trip in Jack's new Maserati (Jack felt we had to look the part of movie moguls) to meet and sell our movie to other cities' owners of gay x-rated venues.” Having got to know the exhibitors in the gay film market, Hand in Hand began to make and distribute additional films, becoming the first company to “provide a sort of national clearing house for gay films” (Manshots). Instead of selling prints to exhibitors, which most people were doing at the time and which resulted in many pirated film prints being created and screened, Hand in Hand rented out prints of the films they carried, winning over exhibitors by guaranteeing that they would have high quality new product regularly available. They were able to achieve this by promoting the brand name of Hand in Hand, itself, and attracting other directors to it. These included Peter de Rome (whose collection of shorts, The Erotic Films of Peter de Rome, was Hand in Hand's next release), Tom DeSimone (Catching Up, The Idol), Arch Brown (The Night Before), playwright Jean-Claude van Itallie (American Cream), John Stephens (Jack), and more.

1974 saw the release of Jack's most wild and ambitious film, Drive, co-written with and starring Christopher Rage and featuring a cast of 50 men; a short stint where Jack and Robert owned the Lincoln Art Theatre in New York (where they showed Drive and Gerard Damiano's classic straight porn The Devil in Miss Jones); and Jack and Peter de Rome shooting de Rome's first feature, Adam and Yves, in Paris. (Jack was the cinematographer and producer for Peter's second and final feature, The Destroying Angel, in 1976.)
 

Jack (who had French roots) spent more time in France shortly afterwards, when Hand in Hand's documentary Good Hot Stuff (1975), a fascinating behind the scenes look at the production of gay porn films in the '70s, became the first gay porn film to open in Paris, billed there as Histoires d'Hommes. The run in Paris was successful. Said Jack, “Not only did we get lots of interesting press and critical attention, most of it quite favorable, but the film out-grossed Nashville our opening week. The most satisfying part of the whole experience, though, was to be treated as a serious filmmaker.”
 

You can watch excerpts from Good Hot Stuff here on our YouTube channel and see clips of Jack Deveau, himself, discussing filmmaking. He would return to Paris a year later to shoot Le Musee (later re-titled Strictly Forbidden and released, after a delay, posthumously) at the Musee Rodin, with cooperation from the French government.
 

After Good Hot Stuff, Jack directed two excellent dramatic character pieces, Ballet Down the Highway and Wanted: Billy the Kid, in quick succession. Ballet Down the Highway was highly promoted and, according to an oddly glib and scathing Michael's Thing write-up, had a large premiere with champagne and souvenir t-shirts which was attended by Jamie Gillis, Divine, and Tennessee Williams.
 

Jack always sought out talented writers and cast and crew members to work with. He recruited writer Lorenzo Mans (aka P.P. Mans) for Ballet Down the Highway and worked with trained dancers on a choreographed ballet sequence in that film. Hand in Hand soundtracks include outstanding original music by Emmy Award-winning television and Broadway composer Stan Freeman (Left-Handed, Drive, Ballet Down the Highway) and talented orchestral composer David Earnest (The Night Before, Drive, Adam and Yves, Ballet Down the Highway, and Wanted: Billy the Kid).

In performers, Jack would use his instincts to find men who had the right combination of elements to work well on screen: “When you're looking for men who can suck and fuck for the screen and in front of a crew of technicians, there's a poise and confidence that emanates from those who can. You can feel it just sitting and talking to someone. We also ask why the applicant wants to appear in a pornographic movie. If money is the only answer, I'm rarely interested in going any further. The work of being in a porn film, the physical and mental demands, just can't be bought with money alone. You have to have some interest in being in front of a camera, whether through sheer narcissism or attempting to ply your craft as an actor. And as corny as it sounds, there is such a thing as star quality, a sense of himself a man can have that sets him apart.”
 

In addition to Jack's charm and people skills, Robert Alvarez discussed with Manshots his quickness and adaptability, which helped Jack to reshape anything that wasn't working during the shooting of a film and make it function. Jack's friend and Hand in Hand business associate Kees Chapman described how Jack always wanted to use the best equipment. For A Night at the Adonis (a 1978 film set in the Adonis Theater and starring Jack Wrangler, Malo, and Jayson MacBride), Jack wanted to get a stead cam, “which he was just dying to use, and this was the place to use it.” They were supposed to be cutting back on their spending because of changes in the industry taking place by the late '70s which made large scale productions less profitable, but Jack still wanted to get the technical side right. Chapman: “I miss Jack's influence that way, because – as much as I was always trying to pull him back and say, 'You can't rent another light because we can't afford it' – he'd go rent ten more – and he'd always be right.'”
 

Jack wanted Hand in Hand's films to be well-executed and taken seriously by other filmmakers and by viewers. He was an early force shaping the newly forming genre of hardcore. His interview with Soho Weekly News contains some fascinating commentary on structure of the genre from Jack: “We came to an interesting idea about porno movies. We were looking for a while to describe the porno movie because it doesn't really relate to anything else. It is only starting to find its milieu, or genre, whatever you want to call it. It's a musical comedy, but now instead of singing, they fuck. Now that I've been able to make that generalization I think, well, are they going to sing a happy song now or a sad one? What condition is this character in? And then we try to structure the sex in those terms.”

Robert Alvarez commented to Manshots that “there was a period there where there was a lot of magic going on. It's not ever going to be the same again. There was a period in porn filmmaking when there was hope that you could do something... You could do whatever the hell you wanted. You could be as audacious as you wanted. You were working on a very low budget. You knew there was a limit on how much you could spend. You had that much money to do something. Therefore you could do whatever you wanted as long as you had the required amount of sex scenes.”

Hand in Hand amassed at least 40 films in their library, Jack directing many more through 1982 (Rough Trades, Hot House, Sex Magic, Dune Buddies, Fire Island Fever, Just Blonds, The Boys from Riverside Drive, and Times Square Strip), and they had plans to begin developing some non-pornographic gay films that could reach a wider audience.

Jack Deveau passed away on December 2, 1982 after a long battle with cancer. Strictly Forbidden and a second shorts collection with segments directed by Deveau, In Heat, (following Hand in Hand's 1980 shorts compilation, Private Collection) were released posthumously. The adult film industry changed considerably in the following years with the advent of home video and the decline of porn theaters. Hand in Hand continued to operate as a mail order business until Kees Chapman died in 1988, at which point Alvarez sold Hand in Hand's entire library to Bijou Video, where we still preserve and carry their films, available on DVD and Video on Demand. They are truly worth checking out and range from beautiful and artistic, to bizarre, to romantic, campy, sleazy, funny, thoughtful, surreal, sweet, clever, dramatic – all while being hot.
 

Jack had hope for the legacy of the films he produced and for gay films as a whole: “There are magazines in Europe who are devoting whole issues every other month to critiques of the erotic cinema. Eventually this will have to become a literature... There are many stories to be told, as people finally listen to and begin to understand the experiences of gay men and women. I think there'll soon be a larger audience for movies about the way gay people feel about themselves and how they interact with the rest of society. And from a purely commercial standpoint, gay people have been supporting the film industry for years. It's about time they started getting some feedback.”

Alvarez also touched on Jack's notion of gay porn as recorded literature in his Manshots interview.

Manshots: What were his strengths that made his films so special?
Alvarez: Jack said what he wanted to.
Manshots: The fact that he made erotic films that said anything at all is a rarity.
Alvarez: Yes, I feel it's an unfinished story. I feel that there's more there than even I can comment on. One of the things that Jack always said was that “no matter what – this is recorded literature, or a piece of literature. You can be sure when you're dead that that piece of literature will be around.” As long as the film negative doesn't deteriorate or the lab doesn't burn down, it's true. Whatever is there that he made is going to be there for a long time. Who knows what people will make of it – but it will be there.
 

I so hope I am not outing myself even more as an “eldergay” with the topic of the blog this week, but I do like to think Lucy, especially as Lucy Ricardo on I Love Lucy, will remain always funny, even as broadcasts of that show are now making their way into interstellar space.

Situation comedies, like most art forms that move in time, require suspension of disbelief, but after some inspiration from the inimitable datalounge website (which bills itself as “serving up this steaming pile of Gay celebrity gossip, politics and pointless bitchery since 1995 (were you even born in 1995?) Go ahead. You know you want to..."), this idea really hit me … if one pretty much voids the suspension of disbelief required for Lucy and (in most cases) her accomplice Ethel to get involved in so many zany madcap predicaments, plus interpreting their antics through a fear-ridden mindset characteristic of so many 21st century persons (especially helicopter parents) … Yikes!

Yes, Lucy Ricardo is pretty much a “serial criminal,” with Ethel (usually) as her accomplice. Now, Ricky and Fred were also involved in a some of the business, but Lucy was the mastermind.

Some examples, mostly from memory (oh, I hope, dear reader, you are impressed), which may make you recall some of your favorite episodes:

Lucy often, quite often, commits white collar crime; for example, she purposely wrote a postdated check to pay for the costumes and props for the operetta her women's club is putting on. She does get caught (the check bounces), but not by the cops, but by the company she wrote the check to, who hauls and rips away everything as the performers continue to try and save the show.
 

I do remember her doing the whole postdated check thing in another episode, and even more brazenly, she charges exorbitant amounts at a grocery store (including the neighbor's groceries), after Ricky, weary of her financial crimes, hires a business manager. Lucy thinks the business manager will take care of it at the end of the month when he goes over her monthly grocery allowance (well, not really, it does end well, but not in the way one expects it to).

More variations of white collar crime: And in Monte Carlo, when she is in Europe, she gets in trouble for passing counterfeit money. (And she also tries to get across the France-Italy border without a passport, but that's another category.)

And to get to Europe financially, she and Ethel concoct a raffle for a fake not for profit, Ladies Overseas Aid. The FBI and the cops are really on to her in this one …
 

Lucy is guilty of assault and imprisonment: for example, in one episode, with the typical theme of Lucy trying to get in the show, after losing the required weight under much duress, she ties up the woman who was supposed to be in the chorus line at Ricky's club in a broom closet so she can be in that show.

Lucy is guilty of property damage: ah, so many instances, but I remember one specifically. After a falling out with Fred and Ethel, she and Ricky try and purposely break the lease so as not to have to pay it off. After purposely making noise and even making prank phone calls to Ethel (another crime), they decide to have Ricky's band rehearse in the apartment late at night; the noise and stomping causes the ceiling to collapse on Fred and Ethel.

Lucy is guilty of theft: ah yes, the infamous let's steal (with Ethel) John Wayne's footprints from the famous Hollywood Walk of Fame by Grauman's Chinese Theater. She is pretty much out of control in Hollywood trying to meet celebrities, and her crimes include much breaking and entering, including leaping over a fence to steal a grapefruit from Richard Widmark's yard. She also tried to sneak into Cornel Wilde's hotel room.
 

Lucy is guilty of creating public a public disturbance: many others, but in this case, the act was a stunt to get some money (they landed a job advertising some movie called “Women of Mars”) because she and Ethel lied about the amount of money they could give to a hoity-toity acquaintance's charity, but they go to the top of the Empire State of Building, scream at people in gibberish, and point what looks like stun guns at them … oy veh!
 

Lucy is guilty of threats to safety on public transportation: On the train home from Hollywood, she keeps pulling the emergency brake, for various reasons, but it turns out that this criminal act is not as horrible as the jewel heist going on.
 

Lucy is involved in the Mob (not really but … ): And, right before she and Ricky (and later Fred and Ethel) move to Connecticut, she, Ethel, and Fred disguise themselves as mobsters in order to keep the deal from closing (because Lucy and Ethel don't want to separate) and end up terrorizing the owners of the house to point where the husband gets out a shotgun. Yet it is implied by Lucy at one point earlier that Fred is “packing a rod.”
 

And I am not recounting all, yes, all the episodes where her crimes occur.

Yes, I know it was a comedy show, a parallel universe, but I just wonder if someone in today's angst-ridden culture (I am not denigrating the valid concerns persons possess about gun control, terrorism, property rights, public safety, and white collar crime) watched some of these without knowledge of the show's context and genre, what they might think.

Lucy Ricardo, I do love you, but even in the 1950s, you might have gotten locked up (which did happen a couple times on the series … oh, I could go on and on).

But in that parallel universe where problems become miraculously resolved in half an hour with commercials, the deus ex machina (in Lucy's case, often her husband) descends to make everything kiss and make up/all right/and all manner of things shall be well.

Some of our retro studs in the world of Bijou Video weren't exactly perfect citizens (and not only because they were having gay sex, illegal in many United States jurisdictions when they appeared in their movies)… check out some of our flicks where they, at various levels, bend and break the law, including Drive, Boynapped, Star Trick, Greek Lightning, The American Adventures of Surelick Holmes, and Crime Does Pay.

(For more specific information on the I Love Lucy episodes, I highly recommend The I Love Lucy Book.)