He wrenched his lips away, panting for breath. We have to stop. He took in a huge breath and gently pushed the younger man off his lap. Tyler stood up and stepped away, obviously unhappy, and leaned back on the desk. Myweigh could feel any control starting to slip. He threw himself out of his chair. He had to get out of there before he could do something stupid. His hand was on the doorknob.
He could smell safety. It was barely a whisper of a touch, but it broke Myweigh. He spun back to face Tyler. He grabbed the smaller man, spun back, and slammed him into the door behind him. A second later and lips were locked and hungrily devouring each other. Myweigh canted his hips against his willing captive, and the movement was mirrored. The erection that had never left him just got hotter and harder. He pulled his head away, he had to, and looked at the flushed face so close to his own.
Myweigh swept back into the kiss still waiting for him. Myweigh could feel the man in his arms start to shiver and shake. They were both so close. He sucked the skin into his mouth and felt himself bite the area like a caveman. He had to leave his mark on this man, even if only once. He was panting like a steam train. His legs felt like jelly, and every bone in his body went to water. He consciously locked his knees and leaned against Ty as they both fought to catch their breath. We are going to come out of this as friends at least. So you can stuff all of your insecurities into your rucksack and give this a try.
Sign In 0. Erotic Romance. Mainstream Romance. See More. General Fiction. Heat Rating: Scorching. Gunnery Sergeant Richard Myweigh was returning stateside with a plan. Go back to the base he had once considered home, train their Recon Unit, Retire, and Romance his ex-wife.
And probably in that order. He is a Marine after all. Click OK to close the Options popup. Refresh your browser page to run scripts and reload content. There's a startling kiss between her and a girl from the brothel that must have been a jolt to audiences at the time; it still seems violent, even though it's done seemingly out of affection.
I admit that the movie is a little slow at times, but the plot and the circumstances, and the celebrities in this film are enough to make it worthwhile. The power struggle scene between Leonard Nimoy and Peter Falk seems to be almost homo-erotic. And seeing Shelley Winters kiss another woman. Too much! This movie is one of my favorites! This is absolutely NOT a film for the theatrically illiterate or anyone who cannot accept a film which is less than realistic and into the exploration of the fantasies film is supposed to look at dare we admit it is stage influenced - but not stage bound?
Those who simply want a mindless night at a "fun" film had best look elsewhere, but for anyone who has a mind and enjoys using it, who knows what Existentialism is, or who enjoys really good acting in demanding texts, the adaptation Ben Maddow made of Genet's draft of THE BALCONY in consultation with the original author is close to a "must see. Top billed Shelly Winters as the madame may never have given a better, subtler performance, and the later all to irritating as television's Columbo Peter Falk gives a performance of sustained intensity as a man who thinks he's in charge of his destiny - very reminiscent of the best Twilight Zone work.
Winters' "girls. The castration of a character is eliminated as are most homosexual references and exposed skin is kept to a minimum, and it may have been still further Bowdlerized in regional release, but the essential ideas are there for any with the wit to explore them.
If you're up to it and many viewers will recognize that Rod Serling clearly was , this is a journey through time and space - and one's mind - well worth taking. Quinoa 26 February I never heard of The Balcony until someone recommended it highly to me, and perhaps it's understandable why it sits still in obscurity. The name Jean Genet is far from unfamiliar to theater-buffs, and in fact he was one of those real surrealist playwrights that stretched the boundaries of what was possible to portray on the theater. In the case of this play it's about manufacturing dreams, of control during wartime and the cynical belief that people can be dominated by desire and thought and deed, which maybe isn't far from the truth.
It's a very strangely structured play, but its unpredictability is a major asset; we may predict that another fetish or some kind of subversive ideal will be projected, but the way its written about and acted about is the amazingly peculiar thing. Genet teases and prods human nature while going into something new we haven't seen before. It's a challenge I was glad to take. This being said, I cannot recommend The Balcony as if it's one of the all-time great "lost" treasures or other.
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At best it made me very intrigued to see how it would be done on stage, perhaps or just most likely in an off-Broadway production. It's not without a sturdy cast, with Shelley Winters turning a good performance as the "madaam" of the fantasy brothel of sorts where outside there's chaos and war but inside she controls all it's not a total knockout performance like say Lolita's mother, it's about right for the character though nothing really remarkable except in small bits , and Peter Falk as a personally wounded and disgruntled army person.
Lee Grant is also a sight to see, as is Jeff Corey as a mixed-up Bishop, and Leonard Nimoy yes, Spock appears with a couple of minutes of real inspiration. That isn't necessarily the problem though. If there's anything that could be pointed out it's just the way the film is shot and music is used and little important film-making things like that. Joseph Strick isn't a bad director, matter of fact he has a few moments of crazy inspiration that make it worthwhile i. Many shots are too static, and the music by whoever it is comes off as out of place or not matching well enough the surreal nature of the material.
In fact, this might be one of the handful of projects I would be interested in seeing as a remake. It's prime material, daring and provoking in the best ways. It's just missing "something" to it, which may explain it's slightly obscure status.
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I watched this film out of curiosity and came away very unsatisfied. This probably worked as a play, but even as that it must have been hard work to sit through. Serious and pompous, with a lot of long, long scenes of talking, it's definitely a piece about words. I'll take it that this is the style of the Jean Genet source material.
The story tells of a brothel that is still in operation while the country outside is falling into chaos due to a revolution. People from the brothel are persuaded to use their skills in role play to pose as various heads of power and calm the panicking masses. It's barely using the medium of film to all to any advantage when things are as threadbare as this. Even the music is nasty and discordant. There's nothing here that takes advantage of the switch from stage to screen. It's little more than an earnest group "reading" of the script.
All of the cast look like they are acting, nobody realistically inhabits any single one of the characters. I guess this movie is considered "art" because of the pedigree of the literary source material, but as screen entertainment, this is dismal. JasparLamarCrabb 6 July A surrealistic, nightmarish view of a very callous mankind. Shelley Winters is the madam of a brothel a "house of illusion" in an unknown country with a revolution raging. While the rebels riot and buildings are blown up, Winters and her "actresses" entice and entertain various clients.
Despite an uneasy mix of stock footage of a lot of urban carnage and new material, Strick gets Genet's point across: strip away the costumes and mankind is a mass of powerless imbeciles. Dull, pretentious, dated.. FilmFlaneur 14 May The Balcony is the stuffy sort of film that the American industry once thought was 'art', even as the effects of the nouvelle vague began to filter through suggesting otherwise. Contemporary reviewers obviously went along: "This film is a remarkable achievement from any point of view. All in all Unfortunately now the results seem less impressive.
It's stagey, full of self-conscious dialogue played self consciously, and determinedly un-cinematic. Watching the rather turgid results these days the viewer is more likely to wonder what went wrong. He made documentaries too, but it was with the former that he strived most to be culturally meaningful, even if the results were never first-rate.
The Balcony was the first such outing, and perhaps the least impressive - a production in which, as others have noticed, his literalness as an adaptor hinders rather than encourages the transfer to big screen. As Genet amply demonstrated in his masterpiece Un chant d'Amour , artistic significance can often be best created by the most indirect and poetic means - a process that the director might have here, with benefit, remembered.
Set in a brothel, Strick's film takes place within a city wracked by unspecified revolution. Oblivious to the upheavals happening outside, the power-deprived customers of the whorehouse are sold illusions of power, living out their fantasies before the women as such characters as judges, bishops and generals. Things change though, when one of the madam's Shelly Winters occasional lovers, the Chief of Police Peter Falk asks for help.
First, it's for her to impersonate the Queen, then for her clients to help end the revolution by acting out those roles they had only played in fantasy. They succeed admirably in those parts they have acted out for so long; explosions devastate the city. Then, they too are deposed by a new revolution The result is an uneven and somewhat tedious melange of humour, surrealism, melodrama and socio-political comment. There are important parallels to be drawn between the immoralities outside and inside the brothel, but in the event the balance is rather laboured, while many of the observations remain rootless.
While Genet's play undoubtedly must have worked in its original theatrical incarnation, plonked down here amidst a rout of American thespians determined to see it done justice, its edge is fatally blunted by studio compromise, the result frequently, boredom. Naturally the work of a homosexual former social outcast and thief would have suffered in any American adaptation at this time, as cultural sensibilities were so different. His brothel, supposedly serving the "wildest ambitions and fantasies of its clients" is here without either real fantasy or wildness, in a film that desperately seeks genuine politicization to sink its teeth into, but merely chews around the edges of 'significance'.
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It might have been a brave project for the time, even daring, but the obscure dullness of it all today is unforgivable. Stravinsky's music intersperses the action, but being a selection of existing pieces plonked down in situ rather than an original score - in fact, the composer never wrote one - its divertimento clarity only points up how glum and obscure much of the action is which it supports.
Jerry Fielding's adaptation of A Soldier's Tale for Straw Dogs shows how some effective arranging might have been done, but one supposes Stravinsky had the casting vote on this occasion and was presumably happy with the result. Winters is fatally miscast as Madame Irma, the 'lesbian letch' who runs the show, entirely missing the sophistication her role demands.
Other members of the cast act out their roles with appropriately straight faces, but only Peter Falk retains lasting credit, lending his part something of the intensity it demands. No less a talent than Fassbinder also struggled, perhaps surprisingly, with a Genet adaptation when he directed the unsatisfactory, though considerably more watchable, Querelle in Outside of Genet's own film, perhaps the most memorable adaptation of his work also stars Shelly Winters, this time freed from the millstone of cultural obligation: the cult item Poor Pretty Eddy , wrongly given by IMDb as a second version of The Balcony which, in its own bad taste way is probably a times more subversive than Strick's establishment effort This is a really daring attempt to put Genet on screen at a time when the American public was scarcely ready for him.
They obviously bring a great depth of understanding to their roles, which involve "pretending to be fakes" i. Genet's play exposes the falsehood of public institutions by showing the hollowness and sadism inherent in them, as insignificant customers who enjoy dressing up as bishops, judges and generals are suddenly called upon to play the real thing owing to the upheaval of a revolution. Those who believe in institutions will find this totally weird and unbelievable, as will those who don't understand Genet's perversely religious approach, veritably a "black mass".
After all this, I want to say that Shelley Winters is totally useless in her interpretation of the Madam; she destroys the atmosphere every time she opens her mouth. She plays the role as a coarse New Yorker, whereas the part requires a faux-aristocratic approach. Watch "The Roman Spring of Mrs. Stone" to see how this kind of role should be properly played. Lee Grant is much better as her assistant, doubtless the subordination leads to a better understanding of the part. Another problem is the black-and-white film. Genet demands deep, lush colours, admirably demonstrated in The Maids The horrible fake colours resulting from that process would be just right for the hideously fake atmosphere demanded by the story.
The cheap special effects e. Viewers who complain about them may not understand the message. Still, I really object to having Shelley Winters state the moral of the piece in a couple of lines at the end; that treats us all like dummies. No wonder she's been forgotten! Political futures being decided in brothels. There is a great scene early in the film with an old Caucasian man pretending to be a judge and an African American prostitute, played by Ruby Dee. The scene is both disturbing and sexy. Ruby Dee was amazing. I was like, "Wow, this movie is gonna be awesome!
This film left a lot of potential on the table, but it is still worth watching if you get the chance.. Stu 27 February I really like Peter Falk and I thought it would be interesting to see Leonard Nimoy in this early role so I checked this one out. I have absolutely no idea what it was about or why it was made. Yes, I know that it had something to do with a revolution and women selling their bodies, but what a strange film.
Peter Falk is always a pleasure, but with ridiculously unintelligible dialogue as this it was even hard to watch him. The opening scenes of real footage were very interesting and from there on it was very tough sledding. I'm usually very lenient from the production side, but I just have to comment on the extremely poor "special effects" here. The parts where a background is used to depict scenes as characters are driving around were not only completely unconvincing, they're totally laughable. Two good things which raise this from a 1 to a 2 are the alluring Lee Grant and the mercifully short 84 mins.
This has to be one of the worst films ever made. It is utterly abysmal. It is so bad it makes Ed Wood's "Plan 9 from outer space" seem like a masterpiece. How talented actors like Shelley Winters, Lee Grant and Peter Falk could have become interested in this fiasco beggars belief. How on earth could it have nominated for an Oscar for the photography beggars belief. There must have been some real turkeys that year. Well IMDb insist on 10 lines, so as I have nothing further to add about this turkey here goes, It is rubbish rubbish rubbish.
It is stupid stupid stupid.
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