“embarrassment”: Crumb documentary, 1994.
“I was not quite”: LoBrutto, Stanley Kubrick, 360.
“the blacks”: Burgess, You’ve Had Your Time, 253.
“Neither cinema”: Ibid., 257.
Detroit News: LoBrutto, Stanley Kubrick, 362–63.
Reynolds/Cosmopolitan account: Reynolds, My Life, 174, 175.
“You ought to pose”: Hurwood, Burt Reynolds, 51.
“such a cold day”: Brando, Brando, 425.
“Brando had the personality”: Higham, Brando, 274.
“In Bacon”: Bosworth, Marlon Brando, 183.
“Let’s talk about”: Carey, Marlon Brando, 222.
“He wanted me to play”: Brando, Brando, 424.
“No one was willing”: Higham, Brando, 274.
“Films like Midnight Cowboy”: Picker to author, Aug. 29, 2011.
“The sexual scenes”: Manso, Brando, 737.
“Bernardo wanted me”: Brando, Brando, 425.
“like seeing the same one”: Carey, Marlon Brando, 224.
“We have to wait”: Manso, Brando, 742.
Marchak/“I can’t”: Manso, Brando, 742.
“for structural reasons”: Carey, Marlon Brando, 226.
“oedipal relationship”: Manso, Brando, 743.
“It was just his complex”: Judy Klemesrud, “Maria Says Her ‘Tango’ Is Not,” New York Times, Feb. 4, 1973.
“You are the embodiment”: Manso, Brando, 743.
“I’m much more free”: Carey, Marlon Brando, 226.
Brando conceived it: Bosworth, Marlon Brando, 187.
“Maria and I simulated”: Carey, Marlon Brando, 425.
“And I was so angry”: Dennis McLellan, “Maria Schneider, 1952–2011,” Los Angeles Times, Feb. 04, 2011.
“do something outlandish”: Manso, Brando, 759.
“I felt I had violated”: Ibid., 736.
Boreman/burgundy Jaguar XKE: Lovelace, Ordeal, 10.
“There was no love”: Ibid, 64.
“sword-swallowing”: Ibid., 117.
Damiano/Traynor/Lovelace encounter: Inside Deep Throat documentary, 2005.
“I knew some starlets”: Lovelace, Ordeal, 120.
“Six before”: Ibid., 136.
Adolf Hilter: Inside Deep Throat documentary, 2005.
“Chuck was an”: Simon Garfield, “Deep Throat: The Aftermath,” Independent on Sunday, June 28, 1992.
“Linda needed someone”: Inside Deep Throat documentary, 2005.
“People didn’t realize”: Ibid.
“Suppose your balls”: Ibid.
Bob Sumner, thought: Ralph Blumenthal, “Porno Chic,” New York Times Magazine, Jan. 21, 1973, 31.
“I’m really offended”: “Rabbit, Run,” New York, Nov. 27, 1972, 46.
“Mike Nichols told me”: Blumenthal, “Porno Chic,” 30.
“Once it broke”: Ibid.
“You lost your cherry”/Shawn: Kellow, Pauline Kael, 193.
Willis/Ephron/Dershowitz: Inside Deep Throat documentary, 2005.
“Look, you want me”: Blumenthal, “Porno Chic,” 31.
“My father”: Rex Weiner, “Sore from Throat,” Variety, Aug. 18, 1997.
“The government became”: Inside Deep Throat documentary, 2005.
“If it was pornography”: Pete Hamill, “Hix Nix Skin Flix,” New York, Sept. 4, 1972, 66.
Candy and Holly: Candy Darling documentary, 2009.
“I was naked”/ “Lou Reed”: Dallesandro to author, Sept. 29, 2012.
“He did more”: William Grimes, “A Warhol Director on What Is Sordid,” New York Times, Dec. 26, 1995, C13.
“I did those films”: Morrissey to author, Oct. 13, 2011.
“Paul thought those films”: Dallesandro to author, Sept. 29, 2012.
“Adding to the”: Andrew Sarris, “Confessions of a Porn Enthusiast,” New York Observer, April 3, 2005.
“I could hear her”: Ibid.
“She single-handedly”: Ibid.
“The text of the court”: Mel Gussow, “Director Claims ‘Last Tango’ is ‘Film on the Present,’ ” Los Angeles Herald-Examiner, Feb. 3, 1973.
“cracked, like china”: Loud, Pat Loud, 134.
show would help launch: Pat Loud to author, June 10, 2010.
“You won’t believe: Ibid.
“I knew that everybody”/“This is educational”: Loud, Pat Loud, 148.
Chapter Fifteen: 1973, Backlash
“The sexual preference”: Clarence Petersen, “We Were Very Naive about a Lot,” Chicago Tribune, March 22, 1973, 6.
“the flamboyant, leechlike”: Anne Roiphe, “Things Are Keen but Could Be Keener,” New York Times Magazine, Feb. 18, 1973.
“The silence of the Louds”: Shana Alexander, “The Silence of the Louds,” Newsweek, Jan. 22, 1973, 28.
“Pat was screaming”: An American Family Revisited documentary, 1983.
“We don’t say”: Ruoff, An American Family, 101.
talk show’s ratings: “The Divorce of the Year,” Newsweek, March 12, 1973, 49.
“I can confirm”: Thomas, Brando, 262.
$100,000 advance/“I look like a criminal”: Mel Gussow, “Director Claims ‘Last Tango’ is ‘Film on the Present,’ ” Los Angeles Herald-Examiner, Feb. 3, 1973.
Buckley/Reasoner: “ ‘Tango’: The Hottest Movie,” Newsweek, Feb. 12, 1973.
“Brando’s cock up”: Bosworth, Marlon Brando, 190.
“Can a man”: Thomas, Brando, 250.
“Women are the only”: Jonathan Cott, “A Conversation with Bernardo Bertolucci,” Rolling Stone, June 21, 1973.
“Perfect macho soap”: Manso, Brando, 762.
“I consider myself”: Guy Flatley, “Bertolucci Is All Tangoed Out,” New York Times, Feb. 11, 1973, 15.
“I’m more than bored”: Ibid.
“I’m bisexual completely”: Judy Klemesrud, “Maria Says Her ‘Tango’ Is Not,” New York Times, Feb. 4, 1973.
“He was so wonderful”: Manso, Brando, 736.
“got worried about taboos”: Klemesrud, “Maria Says Her ‘Tango’ Is Not.”
Deep Throat trial: Inside Deep Throat documentary, 2005.
Mailer party/Sarris quotes: Andrew Sarris, “Confessions of a Porn Enthusiast,” New York Observer, April 3, 2005.
Epilogue: 1973 and Beyond, Finales
Bibles/“I got a lot”: Frank Rich, “The Gay Decade,” Esquire, November 1987.
“homo of the year”: “The Divorce of the Year,” Newsweek, March 12, 1973, 49.
“one entire chapter”: Friday, “Introduction,” My Secret Garden, xiv.
“New American Library saw”: “Playboy Interview: Erica Jong,” Playboy, September 1975, 64.
“When it was released”: Castle, The Stanley Kubrick Archives, 173.
“I found myself”: Nichols to author, June 13, 2011.
“porn to end all”: Southern, The Candy Men, 329.
“The straight world”: Making the Boys documentary, 2009.
“the first four minutes”: “Child Porno Law Removes ’70 ‘Sweetback,’ ” Variety, Sept. 24, 1980.
“A man bearded”: Blake Morrison, “Introduction,” A Clockwork Orange, xix.
“Michelle and my daughters”: Author observation.
“But it’s obviously tacked”: “Michelle Obama Talks,” iVillage, Aug. 21, 2012.
“see her pussy”: Bart, Infamous Players, 94.
“ ‘Brave’ is ‘naked’ ”: Helen Jackson, “Brave Are the Naked,” Daily Variety, Oct. 20, 2012, 11.
Index
The pagination of this electronic edition does not match the edition from which it was created. To locate a specific entry, please use your e-book reader’s search tools.
Note: Titles of works without attribution refer to both literary works and their film and stage adaptations.
Academy Awards, 119, 171, 177, 239, 291
Academy of Motion Picture Arts & Sciences, 167
Actors’ Equity, 108
Adlow, Elijah, 121
The African Queen, 150
Agenoux, Soren, 240, 243
Airport, 49
Albee, Edward, 23, 27–28, 31, 42–44, 135, 288
Aldrich, Robert, 121
Alexander, Shana, 272
Alice’s Restaurant, 73
All About Eve, xiv
All in the Family, 217–19, 272, 289
Alphaville, 141
Altamont Speedway Free Festival, 156, 157–59, 163, 165
Altman, Robert, 192–93
America Hurrah, 99
American Civil Liberties Union (ACLU), 217
An American Dream, 234–35
An American Family, 241–47, 268–70, 271–74, 281–83, 291
American Place Theater, 46
American Psychiatric Association (APA), 281–82
Anderson, Lindsay, 1, 93, 230
Anderson Theater, 108
Andrésen, Björn, 204–5
Andy Warhol’s Interview, 139, 147, 240
Anger, Kenneth, xv, 22
Anne of the Thousand Days, 171, 177–78
Ann-Margret, 190–91, 193–94, 232
Antonioni, Michelangelo, xiii, xvii, 130
Aquarius Theatre, 137
Arenal, Julie, 37–38, 282
Arkin, Alan, 45
Around the World in 80 Days, 101
Ashley, Ted, 203, 205, 237, 238
Ast, Pat, 266
Atlas, Jack, 142–43
Atlee, Howard, 31–32
Aulin, Ewa, 7–8, 92
Aulin, Nile, 8
Austen, Howard, 9, 13
Bachardy, Don, 13
Bacon, Francis, 254
Baird, Roy, 208
Baker, Jack, 246
Baker, Roy Ward, 129–30
Baker, Tom, 61
Bakshi, Ralph, 228–29
Balaban, Bob, 72, 118, 167
Bancroft, Anne, 149
Bannen, Ian, 173–75
Barbarella, 1, 16–17, 93
Bardot, Brigitte, 17
Baretich, Jeanne, 105
Barnes, Clive, 43
Barr, Richard, 26–27, 30, 31–32
Basel, Amos A., 106, 107
Basic Instinct, 290
Bataille, Georges, 255
Bates, Alan, 125, 126–27, 172–73, 178, 278
The Battle of Algiers, 141
BBC-13, 10
The Beard, 138, 165–66
the Beatles, 163
Beatty, Warren, xix, 16, 66, 110, 192–93, 285, 290
Beck, Julian, 103
Beckett, Samuel, 1, 11, 99, 110
Beggars Banquet, 86
Bennett, Michael, 96
Benton, Robert, 110
Bercowitz, Larry, 106
Berenson, Marisa, 168–69, 204
Bergen, Candice, 190
Berger, Helmut, 160, 168–69, 204
Bergman, Ingmar, 276
Berlin, Brigid, xvii
Berlin, Honey, xvii
Berlin, Richard, xvii
The Berlin Stories, 13
Bertolucci, Bernardo, 253–58, 267–68, 274–76, 278
Bessant, Don, 276
The Best Man, 18, 209
bestiality, 228–29
Beyond the Valley of the Dolls, 155, 182, 183
The Bible (film), xiii
Bike Boy, 26, 245
Billy Liar, 65
Billy the Kid, 138
Biltmore Theatre, 40, 98
The Birthday Party, 11, 25
bisexuality
and Flesh, 75–76
and Hair, 37
and Hollander, 223
and Performance, 81–82, 84, 85
and Schneider, 276
and Sunday Bloody Sunday, 171–73, 239
and Vidal, 9
Bishop, John, 39
Black, Karen, 231
Black Panther Party (newspaper), 215–16
Black Panthers, 215–16
Blond, Anthony, 21
Blonde Venus, 152
Bloom, Claire, 101, 107
Blow-Up, xiii–xiv, xvi, xviii, 130
Blue Movie, xix, 93, 79, 144, 183–84, 186, 285–86
Bob & Carol & Ted & Alice, xii, 87–91, 141–43
Bogarde, Dirk, 202, 204–5, 219, 220
bondage, 264–65
Bonnie and Clyde, xix, 16, 110, 163–64, 192–93
book publishing, 282–83
Booker, Erroll, 40
Boreman, Linda (Linda Lovelace), 258–62, 287, 288
Boutilier v. Immigration and Naturalization Service, 67–68
The Boys in the Band
Crowley’s first draft of, 23–25
and cultural legacy, xii
film production, 132–36
financial success of, 87
and gay activism, 181–82
Kramer on, 121
Off-Broadway opening, 1
reviews of, 42–44
workshop production of, 27–32
Bradford, Nat, 20
The Brady Bunch, 240
Brando, Marlon, 6–7, 7–8, 253–58, 267–68, 274, 276
Brantley, Ben, 290
Bray Studios, 174
Breakfast at Tiffany’s, 145
Breckinridge, John Cabell, 15–16
Breton, Michèle, 83, 85
Bridges, Lloyd, 115
Brill Building, 73
British Board of Film Censors, 120, 164, 236–37, 251
Broadway, 97–98
Brokeback Mountain, 289
Brown, David, 148, 151, 155, 167, 182–83
Brown, Helen Gurley, 252
Brown, Jim, 141
“Brown Sugar,” 159
Browne, Coral, 121
Bruce, Lenny, xvi, 23
Brustein, Robert, 55
Buckley, William F., Jr., 57–59, 275
Burgess, Anthony
on film version of A Clockwork Orange, 285
on film version of Lolita, 230
on film version of Paths of Glory, 230
and publicity tours, 249–51
and screenplays of A Clockwork Orange, 80, 183–84, 186–87, 189–90, 229–30
Burgess, Liana, 186
Burroughs, William S., 48
Burstyn, Ellen, 166
Burton, Richard, xiii, xviii, 7, 92, 177–78, 239
Butler, Michael, 34–35, 38, 40–41, 139
Butley, 278
Byrne, Anne, 70
Cabaret, 13
Cafe Au Go Go, xvi, 23
Calley, John, 203, 285–86
Cammell, Donald, 80–86, 164–66
Canby, Vincent, 142–43, 199, 233, 287
Candy, xviii, xix, 1, 5–7, 61, 91–92, 285
Cannes Film Festival, xvii, xviii, 231
Cannon, Dyan, 89–91, 142
Capote, Truman, 145, 169, 263
Carnal Knowledge, 45, 115, 190–95, 232–34, 285
Carson, Johnny, 143, 252, 262
Cassandra at the Wedding, 24
Catch-22, 115, 190
Catholic Church, xiv, 77
Catholic Legion of Decency, xiv, 231
Cavett, Dick, 169, 274
CBS, 218–19
CBS Films, 132
censorship
and All in the Family, 218
and Capote interview, 169
and A Clockwork Orange, 184
and Couples, 48
and cultural legacy of the Sexplosion years, 290
and The Devils, 189, 235–37
and Drive, He Said, 231
and feminism, 263
and Flesh, 77
and Grove Press, 144
and homosexuality, 32
and If . . . , 93–94
and inter/VIEW, 139
and Last Tango in Paris, 267–68
and the Motion Picture Production Code, xiv, xviii, 118, 287
and Oh! Calcutta!, 99, 106, 111–12
and Performance, 164
and Portnoy’s Complaint, 46
and
Straw Dogs, 226–27
and Sunday Bloody Sunday, 238
and Tynan, 10
and Updike, 52
and Women in Love, 120, 121, 123, 128–30
and X ratings, 251
See also “X” ratings
Central Intelligence Agency (CIA), 277
Cerf, Bennett, 57
Chant d’Amour, 22
Chasman, David, 255
Che!, 102, 105–6, 112
Chelsea Girls
budget for, 77
and Cinema 57 Rendezvous, 153
and cultural legacy of the Sexplosion years, xv–xviii
and Lance Loud, 2, 59, 239–40, 242, 245
and Midnight Cowboy, 63, 65
and Ondine, 74
and Viva, 2–3
Chelsea Hotel, xvi, 239–40, 242–43
Chicago Sun-Times, 119
Childers, Michael
and the Academy Awards, 177
and Hair, 41
and Midnight Cowboy, 62–63, 66, 68, 70–73
as National Theatre photographer, 171
and Oh! Calcutta!, 97, 109–10
and Schlesinger, 238–39
and Sunday Bloody Sunday, 173
Christie, Julie, 19, 66, 71, 178, 192, 276, 290
Cinema 57 Rendezvous, xv
Cinema Center Films, 132
Cinema Verite, 291
The City and the Pillar, 18–22
civil rights activism, 286–87
Claire, Imogen, 207
Clayburgh, Jill, 243
“Clean Up Times Square” campaign, 264
Climent, Michel, 229
A Clockwork Orange
early scripts of, 80
film options on, 183–84, 186–87
and Kubrick’s screenplay, 183–84, 186–87, 189–90, 228–30
opposition to, 284–85
publicity tour for, 249–51
release of film, 228
Clooney, George, 290–91
Coburn, James, 7–8
Cohen, Marc, 36
Cold War, 52–53
Collins, Choo Choo, 153
Columbia Pictures, 88, 120, 141, 185, 192, 231
Combs, Frederick, 28
Comfort, Alex, 264
Commission to Investigate Police Corruption, 224
Company, 96
Conboy, Kenneth, 106
conservatism, 53, 77, 282
copyright issues, 227
Corio, Ann, 98
Coronet Theater, 118
Cosby, Bill, 88, 214–15
Cosindas, Marie, 135
Cosmopolitan, 252–53
Couples, 2, 47, 48–56, 88, 282
Courtenay, Tom, 178
Crash, 289
Crawford, Joan, 122
Creative Management Agency, 81
Cronenberg, David, 289
Crowley, Mart
and The Boys in the Band, 1, 24–31, 43–44, 87, 134–36, 181–82
and Hair, 33
Sexplosion Page 34
