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One of my all time favorites.

A Disappointing Continuation

Pretty good movie overall. First half was nothing special but it got better as it went along.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

This film does represent a historical piece of gay film. It's funny, dreadful, sweet and tender in bits! Don't watch this if you take things too seriously.

This film is of historic importance in gay culture. First, it was filmed at the Continental Baths. Second, it was one of the first films exploring this aspect of gay life in the 1970's. This film depicts much of what I was familiar with as the struggle of coming out gay back before it was acceptable. It's important for younger gay men to understand what it was like in the days before broader acceptance existed.Yes, many of the production values aren't the best but for what this film represents that can be overlooked. The acting isn't the greatest but they feel like sincere honest performances.Once I got into it, I was captivated. I should note there is male and female nudity for those that might be offended.The performance of "Pretty Girl" by Jane Olivor is outstanding.

While watching this I was faced with conflicting thoughts. I was a young man in NYC in the 70's, and had discovered the fabled Continental Baths a year previous to when this was released. The Continental was a ground-breaking establishment - up until then the majority of the bathhouses were Mafia-run, filthy, run-down and unsafe, and then Steve Ostrow took over the decayed health club in the basement of the Hotel Ansonia and turned it into a true pleasure palace - with original art (I remember a series of wicked Tomi Ungerer drawings and some early Plexiglass sculptures), great lighting, music, a juice bar - and a private elevator up to the roof sun deck. For me, just coming out, it was an exhilarating and liberating space to be in, where I could freely express my sexuality and begin to meet the rest of the community (that I'd barely knew existed).So to see the few interior shots, and the shots of Greenwich Village as it looked in the 1970's was a treat - as was seeing a bunch of skinny men with so-so bodies and remembering that we didn't have to face the Gym Facists back then - it was enough of a wonder to just be young and queer.On the other hand, the film is a shapeless mess, with a thin plot and an abrupt ending that I found infuriatingly simplistic and weak. Some of the acting's decent, (there's also an eerie Judy Garland turn by Caleb Stone and an all too brief glimpse of Jane Olivor performing), but the film feels partly like a pitch for the Continental (no surprise, as Steve Ostrow is listed as a producer and appears in a few scenes as well).

I would LOVE to see this movie again. I saw it as a double bill with "Something for Everyone" with Michael York in 1975. It was incredible. I went home and shaved off my beard. The movie was entertaining and, beyond that, sincere and optimistic - like the spirit of the late 60's and early 70's. If I ever had the chance to see this film again, within about a 300 mile radius, I'd be there. It was transformative. It lives as a legend in my memory.