Alexander: The Other Side of Dawn

I saw this TV movie years ago during its initial broadcast. I distinctly remember watching for it after a commercial preview: pix of Lee and company shirtless, commentary about how "this young man's life...". I knew the storyline had something to do with male-on-male sex - and I knew I was gay.

This film goes about as far as one could go in those days in order to depict a "gay lifestyle" - in particular, that of a "young gay male lifestyle".

The kicker is that the whole gay theme has/had to be sandwiched in a "confused"-gay-for-pay envelope.

The rest in-between is all about coming out of the closet, coming to terms with your gay identity and moving forward.

"Alexander" starts off where "Dawn: Portrait of a Teenage Runaway" left off: Dawn ("Brady Bunch" Eve Plumb as - if you can believe it - a runaway teen forced into prostitution), just getting her life straightened, is accosted by a former john; Alexander, her boyfriend, (also a runaway), tries to intervene/protect and in the process gets a knife-wound and a trip to the hospital. During Alexander's subsequent comatose healing period, viewers learn of his background... Get ready kids - cuz it's all GAY.

Alex, it turns out, is a "sensitive artistic type" from Oklahoma: he plans to paint and draw for a living. However, this did not go well with his father, who berates him for being an artist, then orders him off the farm for good. Mom relays her sympathies to Alex but also proclaims she can't change Dad's mind. (Read: homophobic, overbearing dad and understanding but equally-homophobic mom.) Thus, off Alex goes to the hills of (West) Hollywood to seek his fortune.

So much for the dream sequence. When Alexander regains consciousness (after much nurturing from Dawn), he orders Dawn to go back where she came from (somewhere in AZ) and stay on the straight and narrow until he can send for her. And off Dawn goes - reluctantly.

Alex, fully-recovered, re-enters the world and experiences a rude-awakening: age and lack of education work against him - his former boss will not re-hire him, any potential new employers refuse to hire minors.

That leaves Alex with only one option... Thus begins Alex's entry into the world of Hollywood homosexuality.

At first, there is confusion as the movie tries to set up Alex as a straight hustler. He is immediately befriended by another male hustler (same guy who gave Michael Ontkean his phone number in "Making Love"). The duo at first bed ladies for pay - but, as anyone can tell you, women - especially well-to-do women - do not hire call-boys!

Eventually, however, Alex discovers that his roommate is also doing well-to-do men. Roommate one morning emerges shirtless from bedroom, yelling but confessing that its yet another way to make money.

From that point on, the movie presents a flurry of gay experiences: the reluctance of coming-out, the romance with a hot-jock, gay discos/parties (one particularly memorable scene filmed inside WeHo's old Studio One - replete with lots of shirtless guys on the dance floor), drugs, even getting dumped.

This movie almost seems as if it was a project staffed by what was then some of Hollywood's "gay mafia".

Earl Holliman plays a gay counselor at the community center, interesting in the fact that Earl never married.

There is also Alan Feinstein as a popular - and closeted - pro-football player. Is/was Feinstein gay? Don't know - but how many male actors of that time were willing to be filmed on a beach in a skimpy speedo alongside a cutoff-clad shirtless young hunk? (Feinstein is hot btw.)

The production team definitely knows its territory: the gays Alex meets are "networked" - as demonstrated when Holliman's character socializes at a party thrown by Feinstein, recognizing many a familiarize face in the process. At the Back Lot cabaret (behind Studio One disco - hence its name), legendary lesbian performer Frances Faye - in all her glorious raspy-voiced ugliness - calls out to Alex in a song. In the same scene, a presumed lipstick lesbian confidante of the gay football player challenges him to a physical showdown of sorts. "We are family", indeed.

And there are countless homo-erotic moments featuring longing eyes, pregnant pauses, familiar "gayisms" (i.e., "We've all been there...") - along with pecs, abs and glutes.

At the end, the movie abruptly switches gears at the end - as does Alex - ditching the gay plot angle in favor of an affirmation of heterosexual identity (just barely, though).

All in all, however, it provides fairly accurate portraits of gay life just prior to the Holocaust.

Sequel to "Dawn: Portrait of a Teenage Prostitute" (which I never saw). Alexander (Leigh McCloskey) is a teenager who has been thrown out of his home in Oklahoma. He goes to California and (almost immediately) becomes a str8 male prostitute. He falls for Dawn (Eve Plumb!) who is a hooker. He gets her away from her pimp and sends her away until he can make it on his own. But he's 17, no high school graduation and his prostitution is known about. He ends up being "kept" by closeted gay football player Chuck Selby (Alan Feinstein). But can he leave and ever get back to Dawn?

"Dawn..." came out a year before this and was a ratings blockbuster. This was rushed into production and released but it wasn't the success "Dawn" was. For 1977 TV however, this was groundbreaking. It shows gay teens in a "rap" session talking openly about their families rejecting them--the dialogue is tame but the characters are shown in a sympathetic light. Also when Alex lives with Chuck it's pretty obvious that they must be having sex (although it's never shown). That may seem like nothing today but for 1977 that was pretty shocking.

The acting is actually not bad. McCloskey is a little bland at times and he seems nervous at playing the role but he comes through every once in a while. His plea at court at the end is actually pretty moving. He's obviously in his 20s (he was 24 when this was made) but he still could pass for 17. Feinstein is good is his role and Juliet Mills has a nice bit part. Also it was shocking to see Jean Hagen looking so bad and frail and sounding so bad (but she was ill at the time). She even mocks her Hollywood image (the picture on the wall behind her IS actually her). Top-billed Eve Plumb is hardly in this.

This all has a totally unbelievable but somewhat satisfying Hollywood ending. I got a copy from a friend on DVD--the print is in poor shape. The picture was blurry and the color faded. The sound was strong and clear. This needs a total makeover. Still, see it if you get the chance. Ahead of its time. I give it an 8.

This film represents the continuing saga of Eve Plumb and Leigh J. McCloskey from when McCloskey was stabbed while in a battle with Bo Hopkins in Dawn: Portrait of a Teenage Runaway. Alexander: The Other Side Of Dawn continues the story from McCloskey's point of view. While he's unconscious battling for his life we see flashbacks of how McCloskey arrived in Los Angeles. Essentially the kid wanted to be an artist and his redneck farmer/father didn't want any artistic types around and gave him leave to go. Mother Diana Douglas didn't put up a fuss.

Plumb returns to Arizona where she came from to finish high school and live down her sordid past. McCloskey keeps going on and does what he can to survive which includes taking up with closeted gay football star Alan Feinstein.

Unless you saw the first film you really don't know what is going on in the second in terms of character motivations. And the issue of gay for pay isn't really dealt with. And now with McCloskey telling psychologist Earl Holliman that he ought to be 'recruiting' him, the film would draw picket lines now.

Alexander: The Other Side Of Dawn keeps to the average standard set by its predecessor. It remains a curiosity today.

Though back in the day I thought and still think Leigh J. McCloskey was a hottie.

This film is the sequel to "Dawn: Portrait of a Teenage Runaway". This original made for TV movie was pretty shocking as America got to see Eve Plumb (from "The Brady Bunch") playing a prostitute! Pretty steamy stuff for the 1970s. Well, the character is back but plays second fiddle to Alexander (Leigh McCloskey)...her love interest who also is a prostitute who mostly services men...though he insists that he's not gay (and they never mention that he's most likely bisexual).

Like the first movie, this one is HIGHLY sanitized because otherwise they never would have allowed it to be shown on TV. So, you never really see Alexander prostituting himself and the film jumps too quickly from Alexander being homeless to sleeping with folks for profit. It basically talks around what is happening. Additionally, McCloskey and Plumb look so whitebread and so pretty that it is hard to imagine either being prostitutes. As a result, instead of being shocking it comes off as a bit silly. Additionally, the film feels very episodic and disjoint...perhaps due to some editing to please the network. Because of this, it's really not that good a movie BUT it's also a groundbreaking and important film due to its subject matter...and for that reason folks might wanna give it a look.

Quite the daring thing for television in its day (it might have trouble getting off the ground at all in today's morally frigid climate!), it was nevertheless a disappointing sequel to "Dawn: Portrait of a Teenaged Runaway." The character of Alexander brought tears to the eye in "Dawn;" in his own film he just seems to be going through the motions, doing what was "expected" of a daring, groundbreaking '70s Gay television character.