Sex between men is strongly implied in some of the scenes set in the gay bars featured throughout the film.
A man is lubing up to his elbow in a gay bar. Another man is suspended in the air with his legs spread. The first man then begins to fist the other. Nothing is shown other than the other man’s face. Scene lasts around 20 seconds.
There are lots of men in scantly clad clothes throughout the film outside and inside of buildings including leather and things of that nature. Some of these clothes show mild nudity including butts. No graphic nudity is seen.
There is a sex scene between a man and a woman that shows them from the shoulders up. Brief.
A man throws away a stack of gay porn magazines. Only the covers are shown and they feature no nudity.


Film review:Translated by www.rabudo-ru.com


This film is really confusing. Give two more stars for Pacino and one more for the coincidence between this film and history. The film was released in 79 years and released in 80 years. In the next 81 years, AIDS began to rage. The outbreak began in the gay community in New York. After that, drugs and sex could no longer return to the state of reckless enjoyment in the past.

Back to the film itself, all kinds of leather bar and SM lenses were shot in real and shocking places, frightening the audience every minute. It felt that those people were not only pursuing physical pleasure, but also pursuing pain and death. *** Looking at the police chief’s expression seems to realize that burns may be a killer. In addition, Burns’ costumes are more and more like killers, leather jackets, cowboy shirts, black vests, uniforms and hats. The DVD version of the film deleted the 40 minute SM segment of the original film. Although the director said that it would not delay the plot, it is also very important whether burns will appear in SM. At present, burns is not directly involved in homosexual behavior in the deleted version. Instead, he should go back to his girlfriend from time to time to make sure he is heterosexual. However, it was strange to catch the suspect. They both took out knives from their boots and stabbed each other. Burns shot faster, but after stabbing, he stood in place and seemed confused for a moment. It was unclear whether this opened the dark side of his heart.

The shooting of the film is a real gay bar. It is said that many scenes of Carnival at night are also the daily state of regular guests in the bar. Moreover, the bar is managed by gangsters. They support renting it to the director to make a film. However, when shooting, it caused various protests from local gay groups. It is said that some people deliberately used mirrors to reflect and destroy the light layout of the shooting scene. They think that the director shot gay too negatively. It seems that they are violence in addition to sexual desire, as if the emergence of killers is also a necessary consequence of moral degeneration. The box office of the film was not good when it was broadcast, although a pillar like Al Pacino was trying his best to play it well. However, when the DVD version was released in 2008, the acceptance was better. Maybe after all, after all, after all, after LGBT has been fighting for so many years, people’s understanding of them is more diversified, and they will not be easily influenced by the image shown in a film. It will not be said that they think all LGBTs are like this when they see the debauchery and degeneration in this film.

Recently, I have seen many Pacino films. This is not his landmark work, but the interpretation is still very successful. No matter how poor the film editor is, I can’t say that he plays poorly. What impressed him deeply was that he was in two diametrically opposed spaces. On the one hand, he was in the gay bar and the park at night, with dim light, manic music and cross flow of flesh desire; On the other hand is his girlfriend’s apartment. It’s very bright and everything is pure and beautiful. Near the end of the film, after the case was closed, burns shaved in front of the washbasin in his girlfriend’s apartment. When the undercover props were thrown on the living room chair, during the day, the sun penetrated through large pieces of glass. His girlfriend wore a light colored long skirt and looked naive and curious. He picked up his leather jacket and hat to play. The two sides of the male character are also displayed in this spatial layout, with hidden homosexual tendencies and bright heterosexual orientations. The female leader’s innocent appearance is covered with the props of the dark side, which shows the state of the male leader when he first went undercover in another way. At that time, he knew nothing about the gay group. The white heart is covered with dark night props, but the props have been worn for a long time and can’t help leaving a mark in his heart. Of course, such black-and-white opposition fully reflects the homophobic tendency of the film. Although it is shooting gay, it really shows the fear and disgust of gay. Even if this is not the director’s own attitude, it also reflects the society’s attitude towards this heterogeneous group at that time.

The suspense of the whole film still falls on the identity of the killer. I don’t understand it all the time. I always show only a back, an outline, some iconic props, and a provocative line that anyone can learn. It seems that anyone can walk into that outline, lose his reason, and lose himself by the dark human instinct. The invisible killer is the hidden dark desire in everyone’s heart.

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