Fleshpot on 42nd Street

As low budget and crass as this movie maybe, I was highly impressed by it's realism and efforts made by all. A cross between early Paul Morrisey and John Water films, for better or for worse. But I'd say Andy Milligan and the actors knew the New York and the times they were in. Laura Cannon, Neil Flanagan, and even comical Harry Reems all exude a hope and optimism that there is aspirations to live for, and life can improve. Yet doesn't pull any punches that a hard life on the streets can't be easily shaken off for Prince Charming either. As low budget and awkward as this movie maybe, there's a dedication and determination in it all that is endearing. The seedier side of Looking for Mr. Goodbar. But an entertaining tale for only the most mature of movie goers. A valiant effort!

I thought this was an entertaining grindhouse relic. It was more of a drama than anything, but the characters made it watchable. The lead actress seems ruthless at first, but eventually shows she can gain our sympathy--she is generous to her friends, and just wants a better life. Her transgender friend gets all the best lines. The men are all lumps of crud (and terrible actors)--except Bob. It's not the most complicated story--it's more of a character piece, but I was never bored by it. I don't know if there are different versions out there, but the print I saw was pretty grainy. Also, some of the camera work could make you motion sick the way it shakes around. But I will recommend it for anyone who can overlook technical flaws to find a trashy gem set in 70's New York.

I sat down to watch this expecting the worst. However, I found it quite surprising. Looking at those living on the fringes of society, director and writer Andy Milligan (who had a rather tragic life) wrote decent dialogue, and utilized actors from New York's off Broadway scene, so the performances are actually not bad (including, of all people, Harry Reems). Shooting with a 16 mm camera and utilizing extreme close ups, it's obvious Milligan actually had some talent. One wonders what he might have done in the main stream.

Gritty in substance and style, "Fleshpot" looks at the seedy side of urban existence, specifically in New York City. Dusty (Laura Cannon/Diana Lewis) is disgusted with her life as a hustler and a criminal. She feels trapped in a cycle of survival that does not allow her to look beyond the current day.

This adult film is cinema verite and it does a fair job of capturing life in and around the streets. The acting is credible. Sometimes the framing is poor. Surprisingly, there are humorous moments, and some philosophizing by the characters.

Dusty, a small time hustler, moves out of her boyfriend's apartment when he finally confronts her about not paying any of the rent and refusing to get a job. She's back on the streets where she reconnects with her transgender prostitute friend, Cherry. Cherry agrees to let her room with her and help her turn some tricks, but things get complicated when Dusty starts to develop feelings for one of her clients.

Andy Milligan isn't a filmmaker known for class or his strong narratives, but Fleshpot on 42nd Street is about as strong an effort from him that I've seen. Milligan has created a group of interesting lowlifes who ran the gamut from sexist to racist, but there's a sweet loyalty between them all even as they curse each other out and insult one another.

The film dabbles in hardcore pornography as well, but it feels oddly important to the story and some of the moments between Dusty and her new lover, Bob, are surprisingly sweet and touching. Not all of the acting is great and, in typical Milligan fashion, it won't be winning any cinematography awards, but it sets out to tell a memorable story and succeeds.