性爱车库

Conceived as a supporting short for its theatrical release and forever since screened together with the same director's legendary L.A. PLAYS ITSELF, the barely over half an hour SEX GARAGE can rightfully be considered an unofficial third movement to that film, even elaborating on themes touched upon therein. If that film cruelly juxtaposed the evil that men are capable of inflicting with the purity and innocence of nature which the human race has carelessly squandered and destroyed, this astonishing black & white featurette - amazingly shot over a single day - takes matters yet another step further with an implied as much desired immersion with modern technology as one character attempts to make love to his motorcycle, inserting his rigid member into the exhaust pipe and tenderly rubbing his copious ejaculate into the upholstery ! Both the freewheeling cinematic style – frequently favoring extreme close-ups of both machinery and genitalia – and the iconography of high speed vehicles and their leather-attired drivers, not to mention its kick ass soundtrack alternating girl groups with classical music and appropriately soulless synthesizer bleeps, align this featurette with Kenneth Anger's revered cinematic patchwork SCORPIO RISING. Cast members are anonymous and unfamiliar. Both Bijouworld and John Rowberry (as editor of the 1991 Adam Film World Gay Video Directory) list Paul Barresi and the late Bob Blount, who died in an accident shortly after completing the Joe Gage classic L.A. TOOL & DIE, as participants – who copied from whom ? – but I can't vouch for either one as even repeated viewings have kept me from anything resembling a positive i.d.
　　Opening on the (literally) titular garage, a cherubic young mechanic receives oral favors from his hippie chick girlfriend (who, at least according to IMDb, just might be carnal cult cutie Eve Orlon) who subsequently spreads for what amounts to a good ten minutes of straight sex. Intercut with this is a gorgeous upper class brat - with a world-weary mien straight out of DEATH IN VENICE - sensuously soaping his hirsute torso and pleasingly packed nether regions in the shower, camera temporarily zooming in on a note (along with a casually displayed $100 bill) to take the car into the garage to have it "greased up". Oh yeah ! As he drives up, the girl exits with a mix of fright and the existential realization perhaps that her presence is no longer needed - indeed, inopportune - in Halsted's idiosyncratic private universe. Picking up where the lass left off, Richie Rich is casually humiliated and submitted, first by the mechanic and then by a long-haired, Jesus type biker boy stopping by. Apparently tiring of his human sex partners, for whom he displays but strained ennui, the biker ultimately prefers the company of his revered cycle instead, licking and kneading as he works himself into a fevered frenzy culminating in aforementioned penetration.
　　As with much underground cinema, this synopsis can't even begin to do justice to the actual experience of viewing. While unversed in traditional cinematic technique, Halsted was rapidly developing a signature all his own through vibrant 'n' jittery hand-held camera work and wild zooms instilling significance into seemingly random objects that was ahead of its time. Though much of his subsequent directorial output proved dire and unimaginative, his last film BREAKER BLUE a dispiriting mess, his cinematography remained fresh 'n' exciting, especially when working on other people's projects, usually his longtime lover Joey Yale's film-making efforts like TRICK TIME.
　　By far the most distinctive dirty movie director to hail from California, Halsted had drifted through a variety of odd jobs before trying his hand at