Fear Into Falsehood

04-197208XX 09Sex and Dehumanization, by David Holbrook. (Pitman, £2)

During the last few years. David Holbrook — poet, educationalist and now Writer-in-Residence at Darlington Hall College of Art – has signed innumerable letters and articles in the popular press, all highly critical of aspects of our culture today, aspects that may be bundled up under the heading of “permissive tendencies”. His name is, in fact, automatically associated with those of Lord Longford and Mary Whitehouse. And though undeniably thoughtful and intelligent, he does share with all the critics of the permissive society a faculty for making blanket generalisations, for overestimating a situation and for exaggerating a fear into a falsehood.

Few people, I feel, would contest David Holbrook’s basic thesis in this book. That there is an increasing divorce between sex and love and that in our society, advertising, pornography and entertainment often place undue emphasis on people as sex objects, especially women.

However, the method he uses to explore this not particularly original thought, and the conclusions he draws over 212 pages are highly debatable. Most important is method.

Expressed simply, what Holbrook has done is amass on one side evidence of what he calls dehumanized sexuality, and on the other side support for his own views. His targets are sexologists such as Masters and Johnson, writers such as Alex Comfort and Wayland Young, events like “Oh! Calcutta!” (which drives him into some kind of frenzy every time he thinks about it) and publications such as Man and Woman (A weekly magazine which builds up into an encyclopaedia of sexual knowledge), and sex technique manuals.

Evidence for the prosecution, as it were, is drawn almost entirely from the writings of a small body of psychoanalysts from what is known as the ‘object-relations’ school. Of course this imposes very rigid limits on his thesis. It would not matter particularly if Holbrook has made it absolutely clear that this was one particular view. But over and over again he asserts that the insights of his team of pet psychoanalysts are, in fact, something amounting to eternal truths.

Let us see how this works. Suddenly we come to a chapter, inserted for no good reason as far as I can see, and called with an arrogance only matched by its inaccuracy: “The truth about Perversion”. Sorry, but we have to pause a minute here to find out what he means by ‘perversion’. This is not easy. According to the glossary, the definition he prefers is that of Rycroft: “Any form of adult sexual behaviour in which heterosexual intercourse is not the preferred goal”.

Perversion should then, include such activities as masturbation, exhibitionism, homosexuality, bestiality and so on. However, his chapter which is going to tell us the truth about perversion seems to refer entirely to homosexuality and in particular to female homosexuality.

He begins by attacking two articles on lesbians one by Victoria Brittain in The Times and one by Virginia Ironside in 19. His complaint about the latter, among other things is that the writer “did not consult any independent authority on psychosexual disorders. She merely consults lesbians (his italics, p. 97).

Holbrook then turns (presumably for independent evidence) to a group of papers by Masud Khan who is the Editor of the International Psychoanalytical Library. Khan is a highly respected, and to those who know and work with him. a truly charismatic figure. And his work is, naturally, highly valued in his field. However, the special study of perversion (ie. homosexuality) he has made is the result of “twenty years experience of a dozen pervert patients”. This I would have thought amounted to, in the wider context, an extremely limited and definitely biased view of the homosexual. To justify his use of Khan’s material as a statement of general truth, Holbrook writes: “… this conclusion was reached from what perverts in analysis told the therapist, it is their truth, not one imposed upon them”, (p. 99).

Setting aside the extremely debatable idea that a patient in analysis is quite free of imposed views, Holbrook is saying in effect that what a well-adjusted lesbian tells a writer is inadmissable, yet what an unhappy individual tells his psychologist (after twenty years of analysis?) is on the other hand true and acceptable, not just for that person but for all other gay people.

(And a passing note that on page 9S, Holbrook refers to an organisation for lesbians called Kensic. This could be attributed to a proof-reader’s oversight, yet Kenric is similarly misspelled in the index. Indicative that in the most literal way Holbrook doesn’t know what he’s takling about and, moreover, has done none of that essential independent research himself).

This method, and the unconscious attitudes it reveals, pervade the entire book. At times a touch of egregious colouring inhabits his prose as when he refers to “naked couples (having) sexual intercourse publicly on rafts in the swimming pools” (p. 21). Would it have been better for them to be clothed? or naked but not having sex? or not on a raft? or on the sea and not a pool? And when he remarks on “some photographs of a nude dancer, complete with pubic hair and all” (p. 27). Better if she was depilated? or not dancing? and what on earth is “and all”?

The book is extremely difficult to read because Holbrook uses so many quotations from his psychoanalytical reading. It is as if he lacks all courage to state his own views boldly without dragging in such support. A dependency problem, maybe?

All this said. I would advise everyone to try and read this book. For two main reasons. First a great deal of what he says should be said. Holbrook is concerned about dehumanisation by separation of sex from love. One of the points of gay movements, in my understanding. is to try to bridge this gap in the homosexual world. Homosexuals, above all, have been still are – victims of this, revealed in the often expressed view that homosexuality is just a sexual thing (ie. a genital activity) and does not involve the whole person. Gay movements prove this wrong.

The second reason for reading Sex A Dehumanization would be as an exercise for the individual to articulate his thoughts on the subject of sex. It is absolutely no good tossing this book aside with little cries of “rubbish!” just because Holbrook is offensive. He projects a forceful argument forcefully. It needs to be answered forcefully – and thoughtfully.

Bonuloj Estas Gejaj

04-197208XX 08or if you’re good you’re gay.

Last year Arthur Bottomley, a former Cabinet Minister accused President Pompidou of being chauvinistic. He asked “What right have the French to be so arrogant as to think that French is the language of Europe? English is the language of the World.” Some Labour politicians are renowned for adopting conservative attitudes, whilst others who deny Imperial nostalgia feel that the decision to enter the Common Market depends solely on financial criteria. For all that Zamenhof did, idealistic internationalism is dying and chauvinism is winning the day.

Zamenhof? Who the fuck was Zamenhof?

A Polish Jew. No he wasn’t gay like Tchaikovsky but I’m sure Mr Bottomley wouldn’t have agreed with him either. Zamenhof thought there ought to be a World Language — one which belonged to no-one yet belonged to everyone a language that all should be able to learn. He gave it no name but people called it Esperanto. And that language is alive today with people speaking it on a wider scale than ever before. A television course shown at peak hours has just finished in Holland and one will start soon in Czechoslovakia; the Japanese opposition would teach it in primary schools and Jill Tweedie mentions that about 16,000,000 are supposed to have learnt it.

The stand taken by homosexuals now has relevance for the Esperanto movement in that the attitude towards homosexuality is undoubtedly changing and the status quo of the future will not be determined by today’s obsolescent so-called morals. Any movement which has its eyes on the future must admit that fact, for if it does not the movement has no future.

In his address to the annual British Esperanto Congress this year the new president Graham Leon-Smith said “The permissive society has entered the Esperanto movement and we should be glad. Let Esperanto be used fully and freely for all purposes and let that include discussion of and about sex.”

And in August edition of The British Esperantist, Dermod Quirke the vice-president of the British Esperanto Association writes. “I know full well that there is not an insufficient number of homosexuals in our ranks; it is necessary only to conquer our reticence and become organised. So I request all homosexual readers that they contact me. Of course social intolerance still stops many brothers and sisters from publicly discarding their masks: I will therefore protect the anonymity of all who reply. In any case, masked or unmasked, now is the the time for us to go out of our closets, to leave our ghetto and to enter the World as proud human beings”.

Such a statement should not be surprising for a movement claiming to be tolerant of other nations and cultures must be tolerant of homosexuality. Because homosexuals are human-beings, and because all human beings have a right to use Esperanto, so the Esperanto movement accepts homosexuals. Homosexuals need not be thankful to Esperantists for a right which should not have to be demanded but at least Esperantists strengthen their cause by showing that they are not intolerant bigots.

For further information contact
Brian Barker,
3 Crowland Terrace, London N.2.

‘Since Time Immemorial’

04-197208XX 09The Other Love, by H. Montgomery Hyde.
An Historical and Contemporary Survey of Homosexuality in Britain. First Published 1970 — Republished in Mayflower Paperback 1972. Price 75p.

When talking about the trials of Oscar Wilde at the time, many people said how fortunate the country was to have been purged of the horrible corruption that had been going on for so long. What they failed to realise was that it had been going on since time immemorial and that it was universal and not a product of the country or the time. Many people still think that trial to have been a product of Victorian prejudice and hypocrisy and people talking about it today often say that it would never happen again. It can. It does and Harford Montgomery Hyde in his splendid book on the subject of Homosexuality tells how and why.

With such a difficult subject to approach without prejudice, it is refreshing to find a writer who simply presents us with the facts and leaves us to draw our own conclusions. On the other hand it is perfectly obvious that he has a.very strong bias towards a more tolerant society, who do not prejudice people because of their sexual inclinations. The history of Homosexuality is dealt with in detail and is mainly recorded in the trials that have punctuated our history- It rarely concerns women as they seldom seem to fall foul of the laws dealing with anal penetration or sexual acts with animals – these acts covered by the blanket legal term of buggery. These trials are set out in the sections dealing with the historical survey, but are of more interest to the historian. The more relevant parts are those describing the ‘contemporary scene.’

Mr. Montgomery Hyde relates in a matter-of-fact way, defines his terms and clears misconceptions. There he covers all ground, from the idea that this century has seen a massive increase in homosexual activity, to its ‘treatment’ as a curable disease, and the ‘homosexual professions.’

“Another widely held but erroneous belief that homosexuality is peculiar to members of particular professions and trades such as actors, boxers, interior decorators, sailors waiters. Turkish bath attendants and musicians …..”

The law and its contemporary attitude is portrayed as being particularly hypocritical – the punishment by prison for any ‘sexual offence’ is ludicrous. Montgomery Hyde shows that, far from acting as a deterrent, it actually encourages homosexual behaviour, many judges being oblivious to the fact. The first-hand reports in the opening and latter chapters give a great insight into the law’s two-faced attitude, with their wholly believable details about ‘bent’ coppers and prison ‘screws’. One of the most amusing incidents on this topic tells of the ‘Hammersmith’ queen, who, robbed by a guardsman of her fur coat, flew out in a rage and found a policeman, who quickly recovered the conspicuous garment and went to bed with the grateful owner himself.’ On discrimination, the author says that the social structure pressurises the single man into thinking in terms of marriage.

“A batchelor is liable to be regarded as eccentric and unstable, or even unfit for posts of responsibility.”

But as Montgomery Hyde says later;

“Of course, there are bachelors of unblemished character in public life, such as Edward Heath, the British Conservative Party leader, and J. Edgar Hoover, the late Director of the U S. Federal Bureau of Investigation, but they are the exception and certainly in Heath’s case the lack of a wife has been in some ways a handicap.”

This book is informative, readable and a must for anyone who is gay and has bewildered parents who want to know more. The first and last chapters arc strongly recommendeded. This survey covers all aspects of homosexuality from legal reform, drag queens and small Ads. in International Times to continental social clubs, which have made some headway in social enlightenment.

A book as good as this will help dispel a great deal of fear and prejudice and will help towards greater tolerance and understanding making. I hope, for a happier society.


04-197208XX 09Hello all, it’s your Julian again. A rather cross Julian this issue I’m afraid. Now I know not all of you are interested in my reviews from the heart, but you don’t have to be nasty about them. If you knew the effort involved, and the expense. I know the Biograph isn’t the most expensive of cinemas, but with the amount of visits I pay it, the money soon mounts up. Not that it’s just a question of money, it really is hard work spending so many hours in that cinema. Which brings me back to why I’m a little peeved.

On Sunday 13 August the celebrated transvestite Tony Curtis performs in the explicitly titled Not With My Wife You Don’t. Wouldn’t want to dear, would you? Support is First to Fight with all-American boy Dean Jagger (no relations to the Queen of the pop world) in featured positions throughout the film.

Alan ‘Swoon’ Bates and the grand-daddy of the theatre Lawrence Olivier are the stars of Three Sisters on Monday 14 August I haven’t seen this before, and at the time of writing I can’t quite see why so many men are in a film with such a title. Maybe they are doing impersonations. Lex Barker is startling, to those who like that sort of thing, in the programme’s second feature, Wild Kurdistan, an epic from the East.

Hulk John Wayne and Forrest Tucker (star of many a memorable second feature horror movie) appear together in Chisum on Thursday 17 August. This is a notable failure, with everyone just trying to prove how butch they are. and we all know pear old John Wayne’s acting capabilities aren’t that good. What they are showing as support feature seems as if it will be much better, it’s another of those lovely motorcycle films by the sound of it. The film in question is Dirty Angels with Lino Capolicchio in a starring role.

The biggest treat of all in the next fortnight at the Bio is showing on Sunday 20 August. Liz Taylor and Richard Burton play happy families in Who’s Afraid of Virginia Woolf. Even if you have seen this before I recommend you to see it again. Those of you with acid tongues can certainly pick up a few tips from Miss Taylor’s performance in this epic of domestic bliss.

Also showing is Seven Golden Men. That really sounds a goody, and it has also missed my attention in the past, even though it sounds just the type of film that I would like.

Monday 21 August has womaniser of note, Rod Taylor, gallantly supported by Carol White, together in The Man Who Had Power Over Women. It’s not just women that Mr. Taylor has power over, to judge audiences’ reactions at the Bio in the past. Ann-Margaret, the lady who tried to show Elvis Presley a thing or two till she realised that he wasn’t interested, is featured female lead in the second half of the programme, The Tiger and The Pussycat. She is ably supported by Vittoria Gassman from Battersea.

Future attractions include When Dinosaurs Ruled The Earth and Rod Taylor in Hotel. What a super name he has, so straight to the point. And if one believes the rumours……

As you all know, a new paper just as this can do with all the mentions in the rest of the press that it it can get So when I heard that OZ had given us a little write up I was pleased to say the least. In fact I was going round to see their staff to give them all a big kiss of gratitude. But once I had read their piece I changed my mind. They certainly would get more than a kiss now. I believe a gentleman named Felix the Dennis was responsible for the piece they printed, and although he was full of praise for the rest of the newspaper, he had a little go at yours truly. Was I mad! Let me tell you Felix, my tongue is usually everywhere else except in my cheeks, and I don’t quite see how a useful guide to entertainment smacks of sad old magazines and coy innuendos. I just describe what I see and say what I think. I know I’m not (quite) another Alexander Walker but I try me best. If Julian manages to miss something because of his Biograph indulgences, well all I can say is that even I (after years of practice mind you) am not as perfect as I might like to be But I mustn’t go on about my grumbles. See you in the Bio Felix.

Hasn’t it been hot lately? Really not the sort of weather for the cinema some may say. Generally though one finds cinemas somewhat cooler than outside, unfortunately not at the Biograph. The temperature in that establishment always seems to be on the up.

Minor point. Dear Bio management, it’s nice to know that you care about your clientele. But is it really necessary to pop round so often with your little cans of air-freshener. Such an unsuitable fragrance too, better kept for the convenience I would have thought. It’s nice to know that you worry about us, but do please try aiming the cans in the air and not at the height our heads are at. Ruins ones ice or lolly.

August has some interesting films showing at the Bio. To start with on Thursday 10 August Brother John, with Sidney Poitier is on the screen, with Brotherhood of Satan as support. The latter stars L.W. Jones and Strother Martin in the leading roles. This black magic saga scared me half to death the first time I saw it.

For The Biograph programme see Classifieds Page 11.

Littlehampton Urban District Council

04-197208XX 09Dear Mr. Redman,

I have received your letter of the 27th. June last, enclosing the publication you mention, and note your request that a free subscription of the same be sent to the Library for inclusion on the public reading table.

The Committee are, however, of opinion that it would not be suitable and therefore prefer not to accept your offer.

Yours sincerely,

Clerk of the Council

This letter is the reply from the Littlehampton Council with reference to having Gay News at the local library.

This decision was reached by the Library Sub-Committee of the Foreshore and Recreational Committee.

The committee members who gave this decision were: Councillors Mr J. A. Collis, (Con), Mr L. Hutchings, (Con), and Mr R.A. Tilbury, (Lab).

I am now in the process of submiting a request to the County Library Committee at Chichester. Will keep you informed.

A further request has also gone to the same Committee at Arundel. Sussex. (Home of the Earl Marshal of England. Duke of Norfolk!)


04-197208XX 09DANGER — please beware of the cottage at Marylebone Station, there is a minimum of four arrests a day there at present.

The cottages on Shepherds Bush Green are being watched and often raided by the police. A Gay News reader, on his way home from work at night, sees the police lying in wait quite frequently.

Be careful at the cottage on Charing Cross Station, another reader has pointed out to us that either BR police or the Met. police are busy there at the moment.

Please don’t forget that we have warned you that the cottages in Battersea Park are under continual surveillance this Summer.

Also remember our warning about the cottage at Baker Street Underground Station. Police and Transport Police have their eyes on what goes on there. And you may be in for a beating if caught or suspected by those gentlemen in blue!

All the above information has been supplied by Gay News readers who have witnessed something unpleasant at the mentioned cottages.

Wake up Tamla Motown

04-197208XX 10Standing Ovation: Gladys Knight & The Pips: Tamla Motown STML 11208

Gladys Knight is one of the most underrated artists from the Motown stable. Even by Motown themselves, who only rarely put much effort into the promotion of her records. And the songs and arrangements Gladys is often saddled with do not allow her to show the full extent of her vocal capacity.

This is really a shame for an artist of her calibre. The quiet un-nerving power with which she delivers her vocals have at times made the most mundane of material seem inspired. And when Gladys occasionally has all the necessary ingredients she never fails in producing a minor soul classic. ‘Friendship Tram’ and her version of ‘I heard it through the grapevine’ are fine examples of her artistry, who’s roots are, deeper into blues and spirituals than most of the company’s other artists. These two tracks, although monstrous single hits in the States, meant very little over here except to Motown freaks. Even they though have managed to ignore many other great sides Gladys has put out.

One of the main problems is that Motown usually fails to bring out an album that is consistently good throughout its two sides. Marvin Gaye, now that he has broken loose from the company’s strictly self enforced production confines, has managed to release one of the best soul albums ever. What’s Going On’. Usually the only albums of Motown to make it are the ’Greatest Hits’ packages, of which Gladys’s is one of the better ones, for it contains all the most memorable tracks she has laid down whilst being with this company.

On ‘Standing Ovation’, Gladys succeeds in making a fairly well balanced album. The outstanding tracks are ‘It takes a whole lotta man for a woman like me’ and ‘Help me make it through the night’. Whilst most of the other tracks are memorable, the inclusion of ‘Fire and Rain’ is a great mistake. It’s a good song, but completely the wrong sort of material for Gladys. It is also a great pity that ‘He ain’t heavy, He’s my brother’ and ‘Bridge Over Troubled Water’ are sung as a melody. Both songs are powerful enough on their own, and this type of severely restricting arrangement loses much of their potential.

If only Gladys would break away from the confines of her recording company, then we would hear her true worth; that of a gutsy evocative blues-based singer who would turn each song she sang into something personally her own, and stamped with her special brand of soul. But till this happens, ‘Standing Ovation’ is worth getting into, despite its limitations.


04-197208XX 10“Garbo” M.G.M. 2353 059 (Mono)
“The Dancing Years” Sunset SLS 50313 Stereo

Initially, the soundtracks from the inscrutable Garbo’s famous films, most of which are featured on the record, seem quite camp and entertaining. Some of the lines are poignantly modem in their political comment – “Don’t make an issue of my womanhood”. (About Russia) “I have been fascinated by your five year plan for the last 15 years.” Nevertheless, I began to get rather bored about half way through the first side. Seemingly, film soundtracks, music excepted, rarely transfer successfully to records, seeming to lose their impetus when devoid of the visual accompaniment they were written for. I will concede however, that I am not really a Garbo fan, and the real addicts will probably find the record a lot more compelling than I did. The introduction by Walter Pidgeon on Side one sounds exactly like an American television commercial trying to sell the newest and whitest washing powder to middle-aged housewives.

“The Dancing Years – Evergreen Songs from the movies of Fred Astaire and Ginger Rogers, played by the Sunset Dance Orchestra,” is a selection of well known bouncy numbers from Fred and Ginger’s 1930’s films. While the sleeve states the record is approved by the “Official Board of Ballroom Dancing”, most of us I expect, won’t be dancing the foxtrot while listening to the record, but just relaxing and hoping the person in our arms, can’t remember that far back. Most of the universally enjoyable evergreens are featured – “Top Hot White Tie and Tails, Cheek to Cheek Lets face the Music and Dance, Smoke gets in your Eyes,” etc. etc. The sound quality is exceptionally good for a cheap label record and the sound of the orchestra fairly authentic 1930’s.

Eye-catching covers/Ear-waking music

04-197208XX 10The Eagles : Asylum SYTC 101
Roxy Music : Island ILPS 9200
Fritz the Cat (Original Soundtrack Recording) : Fantasy V4U6

Although the musical styles on these three albums are completely different, there is one thing that connects them. Each has a fairly spectacular cover, depending of course on your own particular taste that is. Great, album covers should be pictorially and colourfully interesting; we pay for them don’t we, along with the slim pieces of plastic inside.

Unfortunately, some record companies exploit the fact that some people will buy records whatever their covers look like, thus the first album by an American group called The Eagles has a double cover and an interesting inner sleeve but we are charged an extra 26p for the pleasure of listening to the group and having something pretty to litter the carpet whilst the disc is playing. Strangely enough though. Island Records can present us with the fascinating and as expensive sleeve that the Roxy Music record is encased in, but charge us no more. Now it seems to me that if the record companies have enough sense to realise that a graphically successful cover receives, in time, more attention and acclaim than an uninspired one, then they should surely bear the cost. They make a big enough profit on a successful ‘product’ anyway, and wrapping doesn’t fool anyone anymore, it’s the ‘goods’ inside that matter. Eventually this exploitation of well designed sleeves will fall flat on the record companies that indulge in this practice; and also will damage the chances of new groups trying to find an audience, especially unknown foreign groups. People will get fed up with having to fork out so much money, and it’s the disc firms, as well as the groups, that will suffer.

Back to the music. The Eagles, a new band on a new American label (Asylum), have produced a well-balanced, not over-ambitious album. Musically they are a step above most other groups into the soft/heavy rock style that is very much a part of the 70’s pop scene. The band play and sing well, using a mixture of their own and other people’s material. The Jackson Browne songs, and the Gene Clark/Bernie Leadon classic from the first Dillard and Clark album, ‘Train leaves here this morning’, are very fine, whilst their own material varies from excellent to just passable. But the goodies well out-weigh the near misses. Repeated listening brings out the many striking moments of harmonising and faultlessly layered back-up playing.

Roxy Music, sounded at first to me like the return-of-the-son-of-King-CrimsonThat’s a little unfair to say now perhaps, but first listenings to this album proved difficult and the music remained slightly inaccessible, much like the recent recordings of King Crimson. Maybe it has something to do with the producing of ex-Crimsonite Peter Sinfield. But after hearing the album a number of times, the originality and strengths of the group begin to emerge from the multi-styled and influenced world of sound that they work in.The varied and unusual vocal styles are at first a little hard to take, but they do eventually fit into the overall sound. One continuing grumble I have though is that the group do not use more of the late fifties/early sixties influenced material that they demonstrate on the last short track of this album. I think it’s likely though that we shall hear more of this on future albums. Sales of the record are good, being in the bottom thirty of the album charts, so seeing 1 am not alone in my liking and excitement for this record, I would suggest that you have a listen, it’s sure to turn some of you on.

Roxy Music’s cover is one of the year’s best, using model Kan-Ann in a striking lengthwise pose across the double cover. The inside reveals the group in poses and clothes best left for you to discover. (Grinspoon’s fallen in love with both Paul Thompson and Eno.)

The soundtrack recording from the first full-length X-rated animated feature ‘Fritz the Cat’ seems to be of interest primarily to those who have seen the film. The music is a good reminder of scenes from the cartoon along with the colourful cover depicting characters and events from the film’s story.

The music is a mixture of styles and artists. A number of tracks are hip/soul pieces, others are cinematically psychedelic, complementing action and moods. There’s a track from the late Billy Holiday, a Bo Diddley rock classic, and the camp ‘You’re the only girl (I ever really loved)’ sung by Jim Post. The album is a good cohesive jumble of sounds, but the music is best heard in the context of the movie before forking out any cash.

He’s Where He’s At

04-197208XX 10Fritz and Cat (X) — based on characters created by Robert Crumb
Directed by Ralph Balshi 78 mins, cut.

If you don’t like the underground, after this film you will hate it. If you do, then you’ll find you and your friends sent up rather cruelly. The Daily Express will have it’s worst suspicions confirmed. Mary Whitehouse won’t see it for fear of having an orgasm. Whatever else this film is it’s certainly real – a bit too real at times. It took me a whole evening afterwards to realise that the straight world caricatured the same way would be absolutely unbearable, unfilmable.

Police really are pigs here, and rather dumb ones too – everyone else is some sort of nasty animal. Fritz the Cat is a kind of naive college-kid revolutionary. There’s a sort of mix-up in the usual cartoon conventions – people really do fuck, they do die when they get shot, but Fritz escapes virtually unhurt from the centre of a massive explosion (though he is hospitalised first). It’s really a horror movie to out-horror anything Lee or Price could contrive.

It’s also truly funny – if you can remember it’s a cartoon. I forgot.