As I had been anticipating, the third and last of Paul Morrissey's trilogy of films with Joe Dallesandro as the (willing) object of desire of practically the entire cast irrespective of gender, is the best made and most accessible. With no full-frontal nudity this time around, the services of an Oscar-nominated actress in Sylvia Miles, a narrative which obviously (and not unamusingly) parodies Billy Wilder's SUNSET BOULEVARD (1950) and a generally more disciplined approach, Morrissey was clearly striving towards the mainstream here
although HEAT is still full of offbeat, individual touches and the dubious ingredients associated with this type of film.
Dallesandro is now a minor ex-star of Western TV series who's keen on kickstarting a singing career and Miles a fading character actress who likes to think she still has influence in the business and promises her support in return for certain favors. After a stint at a dingy Hollywood resort (the scene has shifted from New York to Los Angeles as per Joe's ambitions) where he submits to the wiles of the obese and frizzy-haired female owner played by Pat Ast Joe is soon shacked up in Miles' old-style mansion as a kept man. Here, however, he also attracts the unwelcome attention of Miles' mixed-up daughter (whom he actually met at the resort, where she was staying with her possessive girlfriend and baby in tow); appearing in this role is Andrea Feldman the girl in search of a trip in TRASH (1970) who seems to have been troubled in real-life as well, seeing how she committed suicide before this film had even opened!
Unlike the previous films in the trilogy, here Dallesandro is pretty much the observer or, rather, the catalyst for the histrionics of the three women (Miles, Feldman and the acid-tongued Ast); two other notable characters (also residing in the run-down motel) are siblings involved in an incestuous stage act(!), one of whom is a dimwit who wears female clothes and has an embarrassing penchant for public manifestations of masturbation!!
While the plot only really parallels that of SUNSET BOULEVARD on the surface, the ending of the film sees Miles attempting to shoot Dallesandro as he leaves her for good just as Gloria Swanson did to William Holden in the unforgettable climax of the Wilder classic with, admittedly, hilarious results! Ex-Velvet Underground founder John Cale's "score" is good but, disappointingly, only plays over the opening and closing credits and was not even written specifically for the film but taken from his then-current album, "The Academy In Peril".
Dallesandro is now a minor ex-star of Western TV series who's keen on kickstarting a singing career and Miles a fading character actress who likes to think she still has influence in the business and promises her support in return for certain favors. After a stint at a dingy Hollywood resort (the scene has shifted from New York to Los Angeles as per Joe's ambitions) where he submits to the wiles of the obese and frizzy-haired female owner played by Pat Ast Joe is soon shacked up in Miles' old-style mansion as a kept man. Here, however, he also attracts the unwelcome attention of Miles' mixed-up daughter (whom he actually met at the resort, where she was staying with her possessive girlfriend and baby in tow); appearing in this role is Andrea Feldman the girl in search of a trip in TRASH (1970) who seems to have been troubled in real-life as well, seeing how she committed suicide before this film had even opened!
Unlike the previous films in the trilogy, here Dallesandro is pretty much the observer or, rather, the catalyst for the histrionics of the three women (Miles, Feldman and the acid-tongued Ast); two other notable characters (also residing in the run-down motel) are siblings involved in an incestuous stage act(!), one of whom is a dimwit who wears female clothes and has an embarrassing penchant for public manifestations of masturbation!!
While the plot only really parallels that of SUNSET BOULEVARD on the surface, the ending of the film sees Miles attempting to shoot Dallesandro as he leaves her for good just as Gloria Swanson did to William Holden in the unforgettable climax of the Wilder classic with, admittedly, hilarious results! Ex-Velvet Underground founder John Cale's "score" is good but, disappointingly, only plays over the opening and closing credits and was not even written specifically for the film but taken from his then-current album, "The Academy In Peril".