LONDON: Clearing the television documentary on Andy Warhol which he and two other Appeal Court judges had barred from being shown on ITV, Judge Denning tried to give the programme his seal of disapproval by saying it shows “the perverts and homosexuals who surround Mr Warhol”.
Not only did Lord Denning confuse “perverts” and “homosexuals” but he found that the programme was “dreary and dull. Taken as a whole, however, it is not offensive.” That was his verdict after he’d seen the television programme made by photographer David Bailey which he and another Appeal Court judge banned without bothering to see some weeks ago.
Lord Denning may have been prepared to make a volte-face in the light of public opinion about the court’s television censorship, but he was determined to get a last word in on the subject.
He said: “I speak as I find. The film struck me as dreary and dull. It showed the sort of people, perverts and homosexuals, who surround Mr Warhol and whom he portrays in his works. Taken as a whole, however, it is not offensive.
“Viewing it piece by piece, there are some incidents which seem to be inserted in an attempt to liven up the dullness; but this attempt did not succeed as far as I was concerned.”
Whether Judge Denning watches the programme or not is immaterial, what is important is that the court got rapped over the knuckles rather sharply by Sir Peter Rawlinson, the Attorney-General, who said it had no right to issue an injunction against the broadcasting authorities on the strength of a private complaint.
Ross McWhirter, the shocked and somewhat disappointed would-be hero of the ban-Warhol attempt, should have complained about the showing of the programme through the Attorney-General, Sir Peter said. And if though there was a breach of the law regarding broadcasting standards in the screening of a programme, it was up to him to get the injunction against the authority concerned. In this way he scotched the clean-up-TV-campaigners’ hopes for more and more successful court actions against TV companies.
QUOTES: Ross McWhirter: “I have received donations towards my (legal) costs in advance of today’s hearing.”
Mary Whitehouse: “The case is a beacon to the silent majority.”
David Bailey: “If the judges had liked it that would have been really something to worry about.”
Jimmy Vaughan, Warhol’s European agent: “I’m delighted. It’s a victory against humbugs.”
FOOTNOTE: Four days later Andy Warhol’s Trash opened at the London Pavilion, two years after the cans of movie arrived at Vaughan Films, and minus 23 seconds.
It has taken two years to get the British Board of Film Censors to agree to give Trash an X-certificate.
The 23 missing seconds include a fraction of the scene in which drag starlet Holly Woodlawn masturbates with a beer bottle, a fraction of a scene where Joe Dallesandro injects heroin into his arm and a little of one of the movies infrequent fucks.
Only one of the London film critics (Alexander Walker of the Evening Standard) realised that Holly Woodlawn, the glamourous heroine, is a well known Warhol factory transvestite.
It’s Wednesday about 5pm. The Gay News office is a tip. We’ve been mailing subscription copies most of the day. The phone rings.
It’s Variety. Not the show-biz trade paper, but the girl who answers the phone at Vaughan Films, with the collected movie works of Trevelyan (not the ex-censor), Anger and Warhol in cans piled up round her desk and her electric typewriter.
“Joe’s in town. Would you like to see him?” she asks.
“Would I? You must be joking. What time and where?”
“I’ll have to tell you the time tomorrow and it’ll be at the office.”
Next morning up and ready ridiculously early. We have to waste some time listening to Jimmy Young and sitting at home – if home is where my toothbursh is – waiting for Variety to call.
She does. At midday.
“I’m afraid you’ll have to get up, Peter, you can see Joe at one.”
London Transport Executive does its best to delay all 149 buses to Liverpool Street, and to keep all Central Line trains to Oxford Circus from running.
Despite LTE we get there on time. Just.
Variety looks after the Gay News carrier bag while we’re off to see the ‘superstar’ of the movies that puts fear into the hearts of the sensitive and politically ambitious of Enfield.
Next door is almost as crowded, but this time it’s people not film cans that are piling up round the walls. There are Christine, the lady who fixes almost anything, and the rest of the small distribution company’s directors and staff, all buzzing with excitement at the thought of The Big Opening, (Trash, February 8, London Pavilion). And leaning against the doorpost there’s a young man who looks as though he’s trying to merge with the furniture and the posters with his face on.
He’s got the face of Joe Dalessandro, but it’s difficult to recognise him in a tidy blue suit with creases in the trousers any banker would be proud of, let alone with his clothes on.
Christine says: “This is Peter Holmes of Gay News and he’d like to have a few words with you.”
We shake hands and say hello/hullo/hallo and retire to the inner sanctum — the office of Andy Warhol’s European agent, Jimmy Vaughan.
Joe seems frankly surprised that Europe’s leading gay fortnightly wants to talk to him. He takes out a Marlboro and lights it. He says he’s hungry, loud enough for the massed company directors and their right-hand men and women to hear.
On every surface of the room there’s a picture of Joe, some in colour, some in plain old black-and-white.
Gay News: How much do you identify with the characters you play in the movies? After all, you’re always called Joe on the screen.
Joe: Well, I’ve got Joe tatooed on my arm, and I didn’t find out how to blank it out with make-up until just recently.
GN: You’ve been a screen stud, a gay and you’ve even fixed heroin on screen. How much of it is the real you?
Joe: None of it. They’re just characters in movies. At home I’m just a quiet family sort of man. I’ve got my mother living in the city, and I visit her regularly. And I’ve got a wife at home and a child. And my wife cooks me delicious meals and I stay at home and watch television a lot. I don’t know any junkies. I don’t know any gays. I’m just a very straight sort of person.
GN: Despite that you’ve become something of a gay hero.
Joe: I don’t know why.
GN: Well, Joe was pansexual in Flesh and Lonesome Cowboys was overtly gay.
Joe: Well, I’m glad I’ve become a hero for somebody.
GN: Back at reality in the Warhol movies, there’s a scene in Trash where you fix heroin…
Joe: ‘Fix’? Is that what you call it?
GN: You fix heroin, you shoot it up into your arm in full view of the screen. That scene made the boyfriend I saw it with faint.
Joe: Did you see it here in London?
GN: Yes, at a screening for the trade, to coin a phrase. Anyway, what did you shoot up, or fix, or whatever? Was it water or something?
Joe: I didn’t shoot anything into my arm.
GN: You mean it’s all done with the tricks of the cinema business?
Joe: Yes, I never put a needle into me.
GN: You say you lead a very straight life. Does that mean you’re anti-drug and anti-gay?
Joe: What do you mean by ‘anti’?
GN: Do you personally, discriminate against drug-users or gays you meet?
Joe: I can’t really because I don’t come into any contact with anyone who falls into these categories, because I spend most of my life at home when I’m not working. I believe that people should be able to do whatever they like, in ones or twos or threes or whatever outside my home. But once they’re inside they have to do what I say.
I wouldn’t discriminate against gays — if I knew any – but then, I wouldn’t sleep with a gay guy either.
Actually, I’m very anti-drug. I don’t use any and I don’t allow any to be used in my home.
GN: I think Trash is probably the most convincing condemnation of drug-use I’ve ever seen. It’s ridiculous their banning it for two years in this country. If it was given a U-certificate, that’s the unrestricted viewing certificate, and shown in schools, it would kill the smack trade stone dead in just ten years, probably.
(Jimmy Vaughan, Andy Warhol’s European agent walks into his office to the refrigerator that holds the hospitality wine.)
Joe: Do you have some kind of hamburger joint in England?
JV: We’ll be giving you some meat in half-an-hour. We’ll go out for a steak.
Joe: 15 minutes.
JV: 15 minutes.
Joe: I’m sorry but I really am hungry.
JV: And when Joe gets hungry he gets annoyed. Isn’t that right Joe?
JV: Don’t mind me, I’m just popping through.
GN: You’ve been with the Warhold factory for five years now …
GN: Ever since The Loves of Ondine. Can you see a time when you’ll quit the factory to join the more conventional movie-making industry?
Joe: Not really. After all, the movies we make have changed a lot. Paul Morrisey has changed things and the movies are very different now.
GN: Yes, but Savages has just opened in London with Ultra Violet in it. She was one of the factory’s first superstars, and Play It Again Sam had Viva in a very small and rather bad part.
Joe: Viva was great in Cisco Pike. Did you ever get to see that?
GN: No. What I meant was that these two have broken away from the factory, seemingly to get into the straight movies, if you can call Savages straight. Would you do that, now that you’ve become a ‘superstar’?
Joe: I wouldn’t say I was a superstar.
GN: It’s the Warhol name for the stars of the factory’s movies. Would you make movies for other directors and other set-ups?
Joe: Sure I would, but that doesn’t mean I’d stop working for Warhol. I enjoy working there too much to leave it.
GN: Why did you start working for the Warhol factory?
Joe: You see I like money and I wanted to be an actor in the movies and no studio would give someone of my age a part unless he’d already done a couple of features.
GN: How old were you when you started, then?
GN: At that age, I suppose you can’t get a part unless your father is a big-name star.
Joe: Who are you thinking of?
GN: Peter Fonda, for one.
Joe: Do you know how old Peter Fonda is?
GN: He’s starting to look about 40 or 50. But he was in a lot of features before he made the big-time, albeit low-budget jobs.
Joe: Yes, but he was 28 or 29 when he started those.
GN: Are you only loyal to the Warhol movie factory because it keeps you in regular employment?
Joe: I suppose so, yes. I don’t live and breathe it, and I’m not politically committed to it. To me they’re just movies with parts in them to be played.
GN: Which is your favourite of the movies you’ve been in?
Joe: I don’t know that I have a favourite. I liked them all. They’re all movies.
Joe: I never say what people should do and what they shouldn’t do, and I don’t think anybody else should. Britain’s no worse than other countries.
GN: It’s more repressive than most, and not just in censorship. The laws against gays make male gay sex legal only between consenting adults over 21 in private, as long as neither is a member of the armed forces or the merchant navy.
Joe: What you’ve got is a law that gives gays the freedom they haven’t got in the States, and then takes it away again at the same time.
GN: Sure, that’s why we run a contact ad section. You see gay contact ads got International Times busted a few years back. The law hasn’t changed since.
Joe: But contact ads aren’t important enough to get busted on.
GN: The contact ad thing is just an example of the discriminatory laws against gays in this country. You know the reason the Bailey documentary got banned was because of the movie clips in it, most of them with you in them? People complained because the clips showed gays and you said fuck four or five times.
GN: Well there are about four copies coming in here every fortnight. You know Kenneth Anger is working here? Have you seen Anger’s movies?
GN: Oh. You should. He more or less invented the quote underground unquote movie years ago with some of the earliest gay movies made that were really good movies. Now he’s getting more involved in the work of Aleister Crowley.
(By this time it’s lunchtime and Joe heads off for the steakery. One of the directors is asked to follow with cash for the meal, as he’s tied up talking to the art man about the deadline for posters for Trash’s opening.
Then other members of the staff talk about the people they forgot to invite and talk to Joe on his 24-hour trip to London.)
Staff: Did we invite that guy who does the arts on Friday for the Standard? What’s his name? And how about Ray Connolly? Did we invite him? Damn.
Conversation with Joe. Starring Joe Dallasandro. With Peter Holmes, Jimmy Vaughan and staff, the Evening News. Introducing Variety. Cert ‘U’.
LONDON: London has just finished a week when Andy Warhol’s latest movie was shown in the London Film Festival and his older “Trash” was given a certificate after almost two years of campaigning.
The renter of all Warhol’s movies in this country, Jimmy Vaughan, announced that the censor had approved of Trash having an X-certificate rating rather fittingly just before a Film Festival screening of Heat, which will be the next Warhol movie to run the gauntlet of the censor’s office, following Flesh and Trash.
Mr Vaughan also announced that Trash would open its London screening early next year in the West End, and not in Chelsea as had been planned.
The announcement on stage just before another movie was fitting because it matched the Hollywood world of stars that Heat is about. And for the same reason, it was rather fitting that Mr Vaughan decided to throw a party to celebrate his success at the end of the campaign to get Trash a certificate.
Joe Dallesandro who was the rent-boy in Flesh plays a trash-picking junkie in Trash and goes on to become a former child-star in Heat. All the movies are directed by Paul Morrisey.
Trash tells of the degradation through heroin of Joe who ultimately can’t make it with anyone, not even the drag queen he lives with.
Heat is a bizarre parody of the American dream of Tinsel Town. Joe is pestered by a strange group of women; there are a partly gay unmarried mother and her ex-movie queen mother pursuing him. They all live in a motel run by an immense madam, who also tries to get a bit of the action with Joe. Just to finish things off the motel is also populated by a pair of boys who work in a stage sex show.
The Warhol movie factory moved from its native New York to Hollywood to shoot Heat.
Presumably censor Stephen Murphy will take another two years before deciding to allow Heat to be shown to the public.
While the lovely JD Grinspoon is just collecting her things together for her nightly troll down Wilton Road, I just thought I’d pop in and tell you all of the wonderful gay movies they’ve been showing in London.
With the exception of some commercially financed and marketed ‘gay’ movies, such as The Boys in The Band, I Want What I Want, Fortune and Men’s Eyes, Some of My Best Friends Are… no gay movie has been given a reasonable circuit showing (ie nationwide) by Rank Voyeur Services or Electricity Means Income Theatres – with the possible exception of The Killing of Sister George – which was a cop-out in every way, I feel.
Warhol’s delicious Flesh (1968) was given a reasonable length screening at the Essoldo, Chelsea, but now the Essoldo group has disappeared into the Classic group, a group that’s learned that there’s gold in them thar safe programmes and bingo halls, when they’re not busy turning perfectly good cinemas into Tatler wank clubs.
Trash (1969) has still not been given a proper public showing in Britain. Stephen Murphy, the secretary of the British Board of Film Censors, and Jimmy Vaughan, the movie’s renter in Britain are still haggling over the cuts that should or shouldn’t be made. None should. Not that Trash is a specifically gay movie, but its star, Joe Dallesandro (see This Months Rent) is enough to keep this boy’s eyes glued firmly to the screen.
What happens with these beautifully made movies is that they say too much for people like Murphy, who’s besieged on one side by liberals and on the other by “responsible Christian gentlefolk”.
Flesh sat on the censor’s shelves for a couple of years before it was finally given an X-certificate. It deals with Joe, who has to go out and hustle on 42nd Street to earn money to buy his girlfriend’s girlfriend an abortion.
Trash has been sitting around since last year when it was given a limited showing at the London Film Festival. As all showings then were booked solid within a few days of the announcement, very few people ever got to see it.
What’s put the shits up Stephen Murphy isn’t a scene where Joe, a trash-picker from the very worst of Greenwich Village in New York, fixes with heroin — a horrifying scene which made my boyfriend pass out at the time – but a scene where Holly Woodlawn, a drag queen, jerks off with the aid of a beer bottle because Joe’s incapable of anything approaching sex, he’s too full of junk!
This was the scene which provoked the usually staid, prim and generally harmless Margaret Hinxman, the alleged movie-critic of the Sunday Telegraph to exclaim: “I think it’s disgusting, and it should be banned. What I thought was really horrible was the bit where the girl masturbates with the beer bottle.”
Holly Woodlawn is a drag queen.
Chelsea Girls, which has been running at the ICA Club for rather longer than this reporter cares to remember is a very lengthy (210 minutes) and alternately boring and screamingly funny piece of Andy Warhol’s dissection of Amerika.
Flesh and Trash were made under the banner of the Warhol workshop and directed by Paul Morrisey, who’s brought big-pic production values to the workshop. His movies are “better-made” than Warhol’s own but no less interesting.
Chelsea Girls, My Hustler and Lonesome Cowboy all predate the arrival of Morrissey at the Warhol workshop. The movies are bittier, not so technically well-made, but often funnier.
As I’ve said, Chelsea Girls was for me, largely a bore. I found I started watching the screen with the soundtrack and then drifting off onto the silent screen alongside it. Often the dialogue on one screen doubles for both. In places then, it was funny. But, I would add that 75 per cent of the audience left by halftime.
My Hustler was very disappointing. I’d wanted to see this movie about hustlers on Fire Island, starring Paul America, for years. When I saw it, it looked like two reels rescued from the centre of a home-movie. Paul America is almost enough to make up for the disappointment.
Lonesome Cowboys comes last because it’s the funniest movie ever made perhaps. Obviously the entire cast and crew were stoned out of their heads when they shot this — everyone’s having so much fun. So many lines were fluffed, so much is ad-libbed. More than anything else it’s got a nice gay story-line. This group of cowboys ride into town, and they’re immediately picked up by the local equivalent of Barbara Stanwyck — Viva and her pimp, Taylor Mead.
Needless to say the cowboys are fucking each other from one end of the range to the other. So they tell anyone they meet they’re brothers, to try and create a good impression.
Their usual group sex activities are interrupted somewhat by Viva trying to get off with each of them in turn. The result is hilarious. Boys to watch are Joe Dallesandro and Tom Hompertz and anyone else that takes your fancy.
That brings us to Kenneth Anger — who GN will interview as soon as possible.
Anger was making movies at the age of 16. They’re still not certificated although his Scorpio Rising is the untimate in motorbike/S&M flix which uses intercut pieces of movie footage of Brando and Jesus to make the neo-Nazi cult thing not just frightening but funny.
MESSAGE TO ALL OUT OF LONDON GAYS: These movies are only on display at the ICA because the place has found a loophole in the censorship law. As a non-profit-making charity it may show uncertificated movies for two days or less without harassment.
If you can’t work the same fiddle in your area, join a film society and demand that they’re shown, the BFI, the film society’s fairy godmother will back you to the hilt. These are the movies film societies should show. Not middle of the road, harmless pap like Elvira Madigan.
At the time that GN9 went to press Censor Murphy and Trash’s distributor in Britain were still deadlocked over what — if any — cuts should be made from the movie before Murphy will grant it an X-certificate.
Inside sources at the censors’ board tell GN that it’s not the drug sequences that are worrying Mr Murphy – for instance, a full-frontal heroin-fix – but the sex-deviance angle that emerges most when Holly Woodlawn masturbates with the beer bottle.
Had this latest in the series of deadlocks not happened the Classic group had planned to open Trash at the Classic Curzon, Chelsea, some time in late September.
Before Gay News was even a newspaper, a German movie-maker called Rosa von Praunheim asked the GN collective if it would distribute (in the UK) his movie called It Is Not The Homosexual Who Is Perverse, But The Situation In Which He Lives.
It Is Not The Homosexual etc is to get its first London showing at last — at the National Film Theatre, which means it’s a members-only do. It shows on Wednesday October 25 and Thursday October 26. After each showing there will be a discussion about the movie, in which people in the audience can take part. People invited to take part in the discussions include the director, Derek Malcolm, George Melly, the Campaign for Homosexual Equality, the Gay Liberation Front and Gay News.
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