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Gay San Francisco: Eyewitness Drummer                605
             explicit torture of this brutal film a landmark in anti-government cinema.
             In the hardon helix between art and sex, I can attest, The Naves Brothers
             greatly enhanced the subtext and the actuality of S&M games played by
             gay men in 1972. If somewhere a film print of The Naves Brothers exists, it
             should be digitally preserved like a note in a bottle from a lost civilization.
                Might I note that in the 1970s, gay men in their thirties had come to
             first consciousness during the violence of World War II that was projected
             on screen in newsreels shown between double-feature musical comedies.
             Has anyone ever bothered to study the causative impact of that war on
             the sexual abandon of the 1960s and 1970s? Connecting the dots of the
             leather, uniform, and S&M interests of the Nazi-obsessed 1970s, I find
             comparative films shot at the same time as Salo. “S&M literacy” requires
             some knowledge of Antonin Artaud’s Theater of Cruelty theories as well
             as the viewing of both high-art films and pop-culture movies. Pasolini,
             similar to the rest of us, had feasted on the anti-Fascist film Viva la Muerte
             by Fernando Arrabal (1970) and the not-to-be-missed fetish feature The
             Holy Mountain (1973) by Alejandro Jodorowski, which leathermen made
             so popular at the Ghirardelli Square Cinema that I included the erotic
             experience of watching that very film in a significant scene in Some Dance
             to Remember: A Memoir-Novel of San Francisco 1970-1982, Reel Six, Scene
             Four.
                The hit list continued.
                Pervy British filmmaker Derek Jarman directed Sebastiane (1976),
             the first “gay” S&M film to gain international notoriety with its spear-
             and-sandal story of gay icon and long-suffering martyr Saint Sebastian
             tortured and killed by rough young Roman soldiers on the hot, burning
             desert sands of Sardinia — northwest of Ostia.
                The deliciously decadent The Night Porter (1974) by Italian director
             Liliana Cavani, starred the incomparable Dirk Bogarde trampling the
             peerless Charlotte Rampling. The Night Porter reveled in the same high-
             brow sadomasochism as Seven Beauties (1976) by Lina Wertmueller. Both
             were popular and highly respected during the same season as the lowbrow
             gore-genre sexploitation blockbuster Ilsa She-Wolf of the SS (1975) directed
             by Don Edmonds and starring Dyanne Thorne. Ilsa, gorgeously adver-
             tised as “One of the Most Notorious and Reviled Films of Our Time,”
             showed its hotsy-totsy Nazi fantasies continuously — grinding through
             projectors 24/7 to the end of the 1970s — at the Apollo Theater on 42
                                                                    nd
             Street and at the Strand Theater on Market Street where leathermen
             bought tickets time and again for Ilsa’s extreme torture of bound males, as
             well as for the anonymous “balcony blow jobs” ready to finish the viewers
             off as they sat in full leather masturbating to the S&M Nazi high camp
             on screen.

           ©Jack Fritscher, Ph.D., All Rights Reserved—posted 05-05-2017
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