Are the pigeons supposed to be a metaphor here, referring to the millions of people zooming around New York City as those messy birds whose aim while in trees we try to avoid? The opening scene with Jordan Christopher and a rather strange friend commenting on an old woman feeding these annoying bobble-headed birds then attacking them with kicks after they leave is really the only time you see pigeons. The rest of the time in this wretched and seemingly drug induced drama is spent with Jones dealing with the strange people in his life, whether it be the women who are out to seduce him, his overly neurotic mother, a virginal best friend, or the effeminate gay man who invites him to a party filled with New York's most eccentric residents.
It is at that party that you see legendary theater star Elaine Stritch telling stories, getting drunker and drunker, and finally passing out. I wonder if she was even assigned to do this film, simply playing herself unaware that she was being filmed for a movie, then really passing out as the party got wilder and wilder. It's a sad treatment of the wonderful performer who had finally hit her stride and was moving into living legend in the Broadway smash hit "Company". Also at the party as one of the guests who is quickly flashed on is Melba Moore who at the time was winning fame in another Broadway hit, "Purlie".
A relic from the days of psychedelic L.S.D. induced movie visuals which today don't hold up. Another Broadway actress, Jill O'Hara ("Promises, Promises") is his somewhat mixed-up girlfriend Jennifer, whom Christopher invites over to his parents for Christmas. Kate Reid and William Redfield are the parents who obviously can't stand each other, and it's pretty apparent that Christopher hates his mother most justifiably. "With parents like us, it's surprising that he's not with a boy", Redfield caustically tells Reid. Then, there's Lois Nettleton as one of Christopher's cab customers who makes a play for him, and ends up playing more with his mind than with his body.
Some good early 70's New York location shots give a rough around the edges look to the film, particularly a police chase sequence on the Westside Highway that shows obviously what's still there and what is long gone. But minimal great location footage does not make a good movie, and this is as far from even being remotely tolerable. A lot of sequences don't make any sense, especially one where Christopher and Haworth steal a bunch of salt and pepper shakers and start passing them out randomly on the streets to bewildered strangers. Save yourself 90 precious minutes of your life and avoid at all costs.
It is at that party that you see legendary theater star Elaine Stritch telling stories, getting drunker and drunker, and finally passing out. I wonder if she was even assigned to do this film, simply playing herself unaware that she was being filmed for a movie, then really passing out as the party got wilder and wilder. It's a sad treatment of the wonderful performer who had finally hit her stride and was moving into living legend in the Broadway smash hit "Company". Also at the party as one of the guests who is quickly flashed on is Melba Moore who at the time was winning fame in another Broadway hit, "Purlie".
A relic from the days of psychedelic L.S.D. induced movie visuals which today don't hold up. Another Broadway actress, Jill O'Hara ("Promises, Promises") is his somewhat mixed-up girlfriend Jennifer, whom Christopher invites over to his parents for Christmas. Kate Reid and William Redfield are the parents who obviously can't stand each other, and it's pretty apparent that Christopher hates his mother most justifiably. "With parents like us, it's surprising that he's not with a boy", Redfield caustically tells Reid. Then, there's Lois Nettleton as one of Christopher's cab customers who makes a play for him, and ends up playing more with his mind than with his body.
Some good early 70's New York location shots give a rough around the edges look to the film, particularly a police chase sequence on the Westside Highway that shows obviously what's still there and what is long gone. But minimal great location footage does not make a good movie, and this is as far from even being remotely tolerable. A lot of sequences don't make any sense, especially one where Christopher and Haworth steal a bunch of salt and pepper shakers and start passing them out randomly on the streets to bewildered strangers. Save yourself 90 precious minutes of your life and avoid at all costs.