Word: joey
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...Joey's ongoing affair with Sally is supplemented by other encounters. The Motel Lady takes him for her own, and he saunters into the boudoir of the 250-pound proprietress at her beck and call, always with the blank pleasantness we reserve for meeting long-lost aunts. The teenage unwed mother is Sally's only child, Jessie (Pat Ast), who constantly sends her mother into hysterical fits ("You're not a lesbian--it's a temporary thing!"), especially with her half-successful attempts at seducing Joey. And the standard symbolic figures of Hollywood sterility abound: the cliche-laden director...
Under the aegis of Andy Warhol, writer-director-photographer Paul Morrissey has fashioned another episode in the life of Joe Dallesandro who, in portraying the character Joey Davis, again plays himself. Joey is an ex-child star in movie westerns turned rock singer, who moves to Hollywood in an attempt to bolster a sagging career. He then proceeds--blithely, almost mindlessly--to partake of the pleasure various apertures of various bodies have to offer, apparently with the theory that if one can't get his foot in the doorway of fortune, an earthier variation of the metaphor will...
...Joey's first and only Hollywood connection is Sally Todd (Sylvia Miles), a bleached-out starlet living off alimony payments and her TV game show money. He conducts this relationship with the bland, innocent dispassion and quiet self-sufficiency which have virtually become Dallesandro's (and Warhol's) popular trademarks--while she is a turbulent mass of emotions, insecurities, and hurts, always seeking his support without success. Her pleading queries--"Do ya think I look allright" or "Did ya think I was a good actress, Joey?"--find no response except their own echo; Joey's adrenalin seems to run only...
...characters, by design, tend to be so unaware and witless. (Wasn't Candid Camera itself often cruel?) Reducing Sally to emotional trauma several times as a vehicle for parody is a good example of such pitilessness. The film's last scene, in which her attempt to kill the faithless Joey evokes only audience guffaws as the gun fails to shoot, adds insult to injury; this is the major emotional crisis of Sally's life, and Morrissey turns it into a farce. Likewise, the constant use of the Motel Lady's physical ugliness as a stimulus to laughter...
...Austrian flying ace and an enthusiastic fascist, Burton feels a lugubrious vocation to dispatch a series of wives-Raquel Welch, Virna Lisi, Nathalie Delon and several other international cupcakes. "They were all monsters," he explains. "They only looked human when they were dead." His eighth frau is an American, Joey Heatherton, who comes on like a refugee from a Tijuana specialty act. With good, home-grown American intuition, Joey discovers that the baron's problems are rooted in impotence and a rather baroque affection for his departed mother. The baron rewards this perception by imprisoning Joey in a freezing...