|Starring Gerald Grant, Andrea True, Dean Tait|
Directed by Jerry Douglas
ReviewAs I noted in my earlier review of Radley Metzger's SCORE, in the nebulous period between the initial moans and groans of porno chic and adult film's banishment back to the sticky floors of 42nd Street came a brief period of "bisexual chic." While the Sexual Revolution had largely left gay and lesbian folks behind, for a blink-and-you'll-miss-it moment hang-ups were eschewed and anything and everything was available at the sexual buffet...and one was encouraged to sample it all. Whether this bled into the world of adult films or if the films themselves led the way, I don't know. What I do know, from talking to my elders, is that the film cycle came to a screeching halt as quickly as the bisex chic cultural phenomenon did, just in time for America to dive nose-first into the coked up - but otherwise capital "C" Conservative - 1980's.
Heading back to Donald's seedy studio apartment in the city, Donald makes it quite clear that he is the fuck 'em and forget 'em type. Gary agrees, but it isn't long before what was meant to be a one-night hookup blooms into a full-on affair. This is where the film starts to veer away from where the audience no doubt thought it was heading.
Up to this point, we could be forgiven for thinking that this was going to be a film about a man torn between two loves, torn between two identities. Not so. As the film unspools it becomes a story of two people whose lives are destroyed by the selfishness of another. Is it the wife who doesn't want to let go of her suburban dreams or the male lover in search of something more? No, it is our protagonist whose selfish quest for the "forbidden" leads to tragic consequences for all involved.
|Andrea True and Gerald Grant|
This becomes obvious during a wife-swapping party thrown by Donald and Janet's neighbors (Darby Lloyd Rains of NAKED CAME THE STRANGER and Bill Morgan.) With a few drinks in her and fed up with marital celibacy, Janet declares: "Somebody's going to fuck me tonight and I don't care if it's you or not." Even this challenge to his sexual prowess/dominance and the prospect of having sex with another man's wife under his very nose isn't enough to excite Donald. He reaches out to surreptitiously grab the other husband's penis in the midst of the foursome - only to be promptly rebuffed.
|Andrea True and Gerald Grant|
In fact, when Janet discovers her husband's secret and confronts him, she is treated as the villain and the film quite merrily seems to condone Donald's shabby (to say the least) treatment towards her. Along the same lines, when Gary expresses his loving feelings for Donald and wants more of a commitment, he is seen as needy and unsympathetic to Donald's situation. Donald's inner feelings are considered by the film, not so the other players.
As with any deception, when Donald's double life finally explodes there is a hefty price to be paid. But, in BOTH WAYS, it is only Janet and Gary who pay a price while Donald goes on relatively unscathed. A confused message, to be sure.
|Gerald Grant and Dean Tait|
The sex scenes take up very little screen time and aren't all that explicit, the main thrust (ahem) of the film is on the dialogue. While occasionally stagey (director/writer Douglas is a mainly a playwright) the dialogue is delivered by the cast in a convincing way. Andrea True in particular is most effective in this regard.
While I may have torn the protagonist to pieces a bit, please don't misunderstand. BOTH WAYS is a very interesting time capsule with strong performances, more-than-competent photography and tackles a subject not often explored in adult cinema before or hence.
Long only available in a heavily-cut form, BOTH WAYS is now available uncut and nicely polished on DVD and streaming from Vinegar Syndrome. Recommended.