Short stories and essays by Shaun Costello, as well as excerpts from manuscripts in progress.

Posts tagged “Colombo Crime Family

WILD ABOUT HARRY…..The first reviews are in!

WILD ABOUT HARRY

A friend who knew him well remembers HARRY REEMS

by Shaun Costello

 Harry - Book Cover final version

 

The reviews are coming in:

Harry 4 B&W shots_edited-1

Porno World Explained

on July 13, 2015
Captures the essence of the City as Costello, a young man looking for work, lands a starring role in the most unexpected place! His story is as captivating as that of Harry Reems. I imagine this is how Hunter Thompson might have approached the subject!
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Birds of a Feather

 on July 5, 2015
Well-written and detailed stories about Reem’s life from Costello’s perspective, from their first meeting through the early days of pornographic films…There might not be any surprises here, but Costello’s enthusiasm and knowledge more than compensate for this historical biography about the road to a new kind of sexual freedom. People’s present reactions to pornographic images would be completely altered had it not been for these harbingers of sleaze. Even if I am more interested in its psychology — the dark side of the mind that creates or masturbates to FORCED ENTRY or WATERPOWER — this detailed history will take you on a ride to another time. And you can never go back again.
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Looking for the dirt!

on June 26, 2015
A fun and filthy read about fun and filthy guy, looking for the dirt and finding it: a story of drugs, smut, mafia, the rise to fame and coming down hard – and getting away and getting away with it. Recommended.
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A Touching Tribute by One Adult Industry Legend to Another

 By Geert Claeys on June 7, 2015

Format: Kindle Edition

My earliest memory of Golden Age hardcore he-man Harry Reems stems from somewhere back in the still budding Eighties. Our (Belgian) household was still a few years removed from acquiring its first VCR, mighty pricey back in the day, but the local video store would offer cumbersome play-only devices described as “movie boxes” (anyone else remember those contraptions ?) for an affordable weekend rental, throwing in a couple of complimentary tapes as part of the deal. As with any VHS renter, one of the flicks I picked was of an adult nature, in my case the 1974 carnal classic

Making a phone call on The Deuce could be hazardous to your health

Making a phone call on The Deuce could be hazardous to your health

Sometime Sweet Susan. So it came to pass that my mom (!!!) and I – aged about 15 or 16 at the time – sat down on a Saturday night to sample our first flavor of in-house intimate entertainment. Mom, God rest her weary soul, was a desperate housewife well before TV made the term fashionable, possessed of a tiger’s temperament trapped in the starting to sag shell of a stay at home spouse and mother of eleven, eight sons versus three daughters. The bloom of youth prematurely trampled by daily drudgery, Lord knows she could stand a salacious vicarious thrill to help her make it through the night. Turned out titular Susan, the pic’s perky protagonist, was a particularly troubled young lady with a split personality (the proverbial good girl/bad girl) in dire need of psychiatric support. Enter Harry Reems as the Good Doctor (I didn’t see Deep Throat until several years after) rushing in aid of our ailing heroine. I swear you could have heard both mom and me gasp at his first appearance. Although an amiable actor, certainly by adult standards (a frame of reference I was still unfamiliar with at the time), it was his look that did it for us. Yes, we really were that shallow ! A fine torso with magnificent muscle definition, yet light years removed from the pumped physique of the next decade’s gym bunnies, covered with a thick layer of fur as our favorite tell-tale trademark of virility. Mom liked ‘em hirsute and, then still unbeknownst to her, so did the youngest of her boys… The Sixties’ sexual

Fanny was a Puerto Rican stripper who taught young Herb everything he knew about sex

Fanny was a Puerto Rican stripper who taught young Herb everything he knew about sex

revolution had produced an unprecedented permissiveness on worldwide cinema screens by the time strapping young Herbert Streicher, a nice Jewish kid from Brooklyn, figured these newfangled fornication flicks were a great way to make ends meet while waiting for his big break in thespian territory. The ultimately short-lived “Porno Chic” phenomenon took sex films out of their storefront ghetto and moved them into fancy first run theaters. For a brief shining moment, it seemed as if carnal cinema had come of age and had permanently taken up residence in the major league to the approval of adventurous audiences everywhere. In such climate, illusory though it was to prove, it was not unthinkable for a struggling actor to seriously consider the option of taking it off and putting it in for pictorial posterity without a care as to how or whether this might affect his future chances. After all, he wasn’t doing anything that didn’t come naturally to most people. At worst, should fornication films prove but a fleeting fad, they would probably sink without a trace leaving no one the wiser, right ? Unfortunately for Herb, who had been trying on professional monikers with “Tim Long” the most persistent until “Harry Reems” finally stuck, an unassuming little XXX flick was to decide otherwise… Gerard Damiano’s groundbreaking Deep Throat and its legal hassles that were to kill off the legit careers of all involved, headed by Reems serving as primary scapegoat, have been extensively covered by Bailey and Barbato’s essential 2005 documentary Inside Deep Throat. Shaun Costello, a fellow performer from the industry’s infancy who would graduate to feature filmmaking while upholding an astonishing “Real World” front, was there at crucial junctures in Harry’s life. Now he lifts the veil on the man whose very image was to become synonymous with the prototypical Seventies porno stud : a lean mean fornicatin’ machine with the trademark

Jack Nicholson and Warren Beatty were the first two Hollywood celebrities to come to Harry's aid.  Fund raisers were held in New York and Hollywood for the Harry Reems Legal Defense Fund

Jack Nicholson and Warren Beatty were the first two Hollywood celebrities to come to Harry’s aid. Fund raisers were held in New York and Hollywood for the Harry Reems Legal Defense Fund

handlebar mustache. A close buddy and ally since their days in the trenches, Costello chronologically charts the rise and fall of the reluctant adult industry icon in an instantly ingratiating, flab-free style giving you the how’s and why’s without resorting to amateur analysis or purple prose. Which is not to say that he merely records the bad boy shenanigans he shared with his subject, as evidenced by an astonishingly astute account of an acid trip that reads like something akin to Beat poetry. Carnal cognoscenti are well aware that Reems starred in Costello’s fledgling filmmaking effort, the sexually explicit Vietnam vet on a rampage flick Forced Entry, and the exhaustive chapter on that film’s genesis alone provides enough reason to pick up a copy of the book. Already associated with congenially comedic capers through Throat and other farces of its ilk taking their cues from burlesque theater, the actor gave one of his most atypical performances as the deeply disturbed gas station attendant whose twisted views on morality

“I’m Marlene Willoughby. Catchy name, huh? It’s not my real name, of course. I’m Polish. You probably couldn’t even pronounce it.”

(punishing women for making themselves sexually available to all and sundry) blow up in his face when the tables are turned in deliciously ironic fashion. Although Reems was to subsequently feign shock at the movie’s heady mix of real sex and phoney violence in his 1975 autobiography Here Comes Harry Reems !, it remains one of his standout achievements, providing a strong glimpse of what might have been had mainstream movies embraced rather than rebuffed him. Costello chronicles Reems’s fall from grace in harrowing detail, deftly side-stepping sensationalism at every turn. The actor’s own words quoted from various credited sources paper over the periods when the longtime pals’ paths would diverge. Their fleeting reunion towards decade’s end, when Costello was on his way up with bigger budgets allowing for more ambitious endeavors (the “Warren Evans” era, for those in the know) and Reems was fighting an ever escalating alcohol addiction in order to cope with the mounting frustration over his erotic entrapment, yields one of the book’s most poignant passages guaranteed to break a reader’s heart. Had the author ended right there and then, he would have wound up with one hell of a cautionary tale. Thankfully, life rarely comes as cut ’n dried as your average Movie of the Week would have it and Harry Reems ultimately did have a “life after porn”, finding both God and true love as well as widespread acceptance by his small town community in the unexpectedly enlightened State of Utah. Of all the lavish illustrations, mostly candid movie stills and eye-popping poster art, one stands out in particular. It’s a teeny tiny snap shot of Harry and his wife Jeannie Sterrett at the Inside Deep Throat premiere. Even the usually unsentimental Costello goes on record to concede that this apparently unassuming lady did nothing less than save his life. Moving back to where I started from, my mom never wished ill on anybody, not anybody who didn’t deserve it anyway, certainly no past or present object of her cinematic affection, secret sex fantasies or whatever the case may have been. Knowing her as well as I did, I’ve got a pretty good hunch she would have been tickled pink to learn that this lovely hunk o’man who stirred her loins many decades ago finally found happiness and got to lead a good life before his untimely passing at the age of 65. Makes me kinda happy as well, truth be told… Dries Vermeulen a/k/a the former (and future ?) Dirty Movie Devotee temporarily trapped in Limbo

DEEP THROAT became such a box office phenomenon that the Religious Right came out in force to demonstrate across the country

DEEP THROAT became such a box office phenomenon that the Religious Right came out in force to demonstrate across the country

“Shaun Costello has written as beautiful a tribute as anyone could imagine. A fantastic evocation of a time, of a place and – most of all – of a friendship.”

by Julian Marsh on June 1, 2015

From The Erotic Film Society in London

For such a prolific director – at least 66 films between 1973 and 1984 – Shaun Costello remained one of the New York XXX scene’s best kept secrets for many years. One reason is the number of noms-de-porn he worked under. He made more than his fair share of films that are now recognized as classics but not always under the same name – he was ‘Kenneth Schwartz’ for FIONA ON FIRE but ‘Warren Evans’ for DRACULA EXOTICA, for example – and this prevented him from getting due recognition until relatively recently. For notorious roughies FORCED ENTRY and WATERPOWER, he was ‘Helmuth Richler’ but ‘Amanda Barton’ made the sensitive PASSIONS OF CAROL. At Avon Productions he was ‘Russ Carlson’ and for a while he was even ‘Oscar Tripe’; plus there were numerous uncredited one-day-wonders.

In ONLY THE BEST, published at the dawn of the video era, critic Jim Holliday indicated that one person was behind some of these pseudonyms; but pre-internet it was pretty much impossible for even dedicated pornologists to crack the Costello code.

A slushy night on

A slushy night on “The Deuce”

With the advent of the web, the IMDb and IAFD and dedicated discussion forums where smut-hounds could compare what they’d discovered, facts began to surface.

Then something occurred that every film historian dreams about; Shaun Costello himself joined the forums. He posted on IMDb. He corrected. He clarified…

And suddenly his incredible career came into sharp focus. Not just those 66 films that he helmed but around the same number of appearances from 1971 to ’89 – and that doesn’t include loops – plus at least 50 films he produced and a similar number of writing credits. It’s a wonder he ever found time to sleep.

On the evidence of WILD ABOUT HARRY, his by turns hilarious and moving memoir about his friendship with Harry Reems, during the pre-DEEP THROAT days of Big Apple hard-core, sleep was often the last thing on his mind. Whether he was editing into the early hours – the only way he could afford post-production facilities – or heroically carousing with his buddies – ‘the Three Musketeers of 42nd Street’ – those years in the late 60s and early 70s seem to have been one madcap adventure, where anything was possible.

A voracious film fan, from art-house masters to grindhouse smut, Shaun absorbed everything. He fell into the pornographic loops business by happy accident, just as they were on the borderline of becoming legal, or at least tolerated, in the adult bookstores of the Deuce.

Herb and Jamie. Gone now, but not forgotten.

Herb and Jamie. Gone now, but not forgotten.

And he was there when a handsome, young, legit actor – still known by his birth name, Herb Streicher – made his debut in an explicit 8mm film destined for ‘under the counter’ sales.

(Assumed names were cast aside faster than underwear: Herb wouldn’t settle on Harry Reems for a couple of years, after he’d tried on ‘Tim Long’ among other aliases.)

It wasn’t just the start of a professional relationship – Shaun cast Herb/Harry as a disturbed Vietnam Vet in FORCED ENTRY, his first feature as director – it was the beginning of a deep friendship.

And now Shaun has published this memoir of those heady days – and that double entendre is very much intended – as a tribute to his buddy, who passed away in March of this year. Anyone who knows the recipe for Automat Soup (a container of ketchup and hot water, if you’re asking – gourmets break some gratis crackers on top to simulate croutons) will probably already have a copy.

But what if you’re not a dedicated devotee of the Deuce and are wondering whether to purchase? Or what if you – horror – have to ask, ‘What’s the Deuce’? Well, let Mr Costello explain…

“The Deuce” at night.

‘The Times Square subway station, my portal to the neighborhood, was an intense assault on the senses. A sudden, almost overwhelming surge of smells and filth hit you as the train doors slid open to the rush of urine, and cotton candy, and damp humanity, and hot dogs on their revolving spits, and vomit, and baked goods like crumb cakes and bran muffins and pretzels, and the garlicky pungent scent of Gyros slowly rotating, and everything suddenly interrupted by someone chasing a pick-pocket through outstretched hands asking for dimes, and a tidal swarm of the disenfranchised huddled in groups, trying to stay warm. And this entire sensory phantasmagoria was musically scored by the overmodulated sound of Kool and the Gang wailing “Jungle Boogie” from the cheap speakers over the door to the subterranean record store. And then the cold again as you climbed the stairs to the street, and there it was, “The Deuce”.’ (from WILD ABOUT HARRY © 2015 Shaun Costello)

From this vivid evocation of arriving at 42nd Street, you should immediately have discerned that our guide to all this decadence has a very neat turn of phrase indeed, which he puts to fine effect throughout the book. It’s prose that encapsulates the sights, the sounds, the smells, the animal excitement of the city – and the only reason not to enjoy it is that it makes you break down and cry, lamenting the passing of such delightful debauchery. ‘Delightful debauchery’? Well, yes. Shaun Costello is aware of the oxymoron. On the one hand, he’s a cultured chap, dating a wealthy heiress. On the other, he’s working his way up the porn ladder. And he’s having fun all the way, along with his lifelong friend Jimmy and – of course – Harry, who is seemingly ever ready for an adventure.

Harry as a homocidal Vietnam Vet on a murder spree in FORCED ENTRY

Harry as a homocidal Vietnam Vet on a murder spree in FORCED ENTRY

Such as one hallucinogen-fuelled romp which takes them from Times Square to the East Side via various apartments whose inhabitants are woken at unearthly hours, before disgorging them on a pitch-and-putt golf course by the beach… all described with a panache that matches Hunter S Thompson’s knack for conveying altered reality.

When DEEP THROAT made Harry a porno chic superstar, his world suddenly became a round of press and promotion and personal appearances, followed equally swiftly by the traumas of the authorities’ attempts to prosecute him for merely appearing in the film. During this period, Shaun lost contact with his buddy, so he has to rely on the interviews that Harry made when he reappeared from anonymity (he’d become a real estate salesman in Colorado) in the wake of the documentary INSIDE DEEP THROAT, to describe what happened.

Initially I was worried that this could turn into a cut and paste job, but Costello has chosen and edited the quotes with great sensitivity. It’s rather like that moment in a jazz number, when the star soloist comes forward. We’ve enjoyed Shaun talking about his friend and now we get hear Harry’s own voice. And what a lovely voice it is, especially talking about his conversion to Christianity and the spiritual belief that saved him from alcoholism (with the aid of a 12 step programme). This sort of tale could so easily be preachy. And how often have former porners turned on the business, their former friends, their whole past life, when they found God?

But Harry – or Herb – was clearly such a sweet guy – and his story of salvation comes over as so genuine – that even if you don’t believe yourself, you can’t help but feel glad that he found that faith because it saved his life.

And then there’s a coda: a meeting years later; a final phone call. It’s deeply touching and heartfelt. Shaun Costello has written as beautiful a tribute as anyone could imagine.

Any quibbles? Just one. I was left ravenous for more of Shaun’s own autobiography. From his contributions to various forums, I know he has great tales to tell and that he tells them in an exceptionally entertaining manner. I hope that further memoirs will be forthcoming from this fine raconteur, drawing on about his raunchy history.

Harry on the golf course during his happy years in Utah.

Harry on the golf course during his happy years in Utah.

But that is not the aim of WILD ABOUT HARRY. It’s not a long book but it’s an intensely warm and wonderful one.  A fantastic evocation or a time, of a place and – most of all – of a friendship.

Julian Marsh

The Erotic Film Society

It gets wild, all right!

By Robin Bougie on June 1, 2015

Format: Kindle Edition

Very worthwhile look at the life and times of 1970s and 80s porn performer, Harry Reems by director Shaun Costello. If you’ve read any number of Shaun’s elaborate blog posts about his experiences working in adult films back in the day, you know that he’s got a flair for storytelling — crafting very readable tales from his memories of being in the XXX trenches. The man has lived some crazy stuff amongst some amazing personalities, and lived to tell the tale! Here, he focuses on his intimate run-ins, on-set adventures, and informed opinions with and about Mr Reems — the famous co-star of Linda Lovelace in DEEP THROAT. There are some good photos and such as well, but the real draw here is the text. The story about the making of the infamous “roughie” porno FORCED ENTRY alone is worth the price of admission. A real “must” for those who have an interest in vintage adult filmmaking, and for those who want to know more.

Praying for salvation in the land of smut.

Praying for salvation in the land of smut.

A MAJOR WOW!

By Jeff Eagle on June 1, 2015

Format: Kindle Edition

Shaun Costello’s story about Harry Reems had me at page one. Even if you didn’t know Harry you will feel as if you did. Shaun crafts a memoir that brings the Golden Age of adult films to an outrageous and hilarious story between two friends and the deliciously demented people they ran with. The stories are so well written you will feel as if you were there… or wish you were. It’s a great read about some great guys in a great era. You won’t be able to put it down.

THE FLEET'S IN....Sailors on shore leave head directly to

THE FLEET’S IN….Sailors on shore leave head directly to “The Deuce”

Great writing about a time and place almost forgotten by many!

 By Elizabeth Main on May 29, 2015

Format: Kindle Edition

I was so happy to come across this book, I loved it. A time and place that only the writer could bring to life the way he did. Completely held my interest with every word. I love the way the writer explained their relationship along with the character development. A real page turner, great fun summer read, could not put it down.

JOE'S FRIENDLY SERVICE...The location used for an early Harry Reems film FORCED ENTRY.

JOE’S FRIENDLY SERVICE…The location used for an early Harry Reems film FORCED ENTRY.

More reviews will be added as they appear on Amazon.

HERE IS A LINK TO THE BOOK’S AMAZON PAGE:

http://www.amazon.com/dp/B00YG1DM1I

Keep SHAUN COSTELLO’S BLOG up and running.
Creating and maintaining this BLOG is time
consuming. If you like what you’ve been reading,
please help me keep it going.
DONATE ANY AMOUNT THROUGH PAYPAL
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WILD ABOUT HARRY

HE WAS A DECADE’S DARLING….AND ITS VICTIM

Harry 4 B&W shots_edited-1 

FINALLY AVAILABLE WORLDWIDE

 

WILD ABOUT HARRY

A Friend who knew him well remembers HARRY REEMS

 

Harry - Book Cover final version

by Shaun Costello

 

He was born Herbert Streicher, on August 27, 1947 to a Jewish family in Brooklyn – and died Harry Reems, on March 19, 2013, a converted Christian, at a VA Hospice in Salt Lake City, Utah. The cause of death was pancreatic cancer. Herb and Harry. A dichotomy he leaves behind for the rest of us to puzzle over. As Herb he was a son, a brother, A Bar Mitzvah boy, a High School track star, a student, a Marine, an aspiring actor, and a loyal and generous friend. As Harry he was a porn icon, and international celebrity, a darling of the TV talk show circuit, a victim of judicial overreach, a convicted felon, a finally-absolved and victorious defendant, a drunk, a drug addict, a 12 step champion, a converted Christian, a successful real estate executive, a scratch golfer, a semi-pro skier, a loving husband, and, at long last, a happy man.

Jack Nicholson and Warren Beatty were the first two Hollywood celebrities to come to Harry's aid. Fund raisers were held in New York and Hollywood for the Harry Reems Legal Defense Fund

Jack Nicholson and Warren Beatty were the first two Hollywood celebrities to come to Harry’s aid. Fund raisers were held in New York and Hollywood for the Harry Reems Legal Defense Fund

Before the media circus that surrounded the exhibition, and subsequent prosecution of the movie known as Deep throat, Herb was a good friend of mine. This book is a personal remembrance of an old friend, and the only actor ever prosecuted by the United States Justice Department for simply doing his job. I’m quite happy with the way this story turned out, and I’m quite certain that Herb would feel the same.
I have included almost a hundred color and black and white photographs of Harry Reems, and of Times Square in its pre-clean up days during the 1970’s.

Making a phone call on The Deuce could be hazardous to your health

Making a phone call on The Deuce could be hazardous to your health

This book is a love letter to an old and dear friend, and to the era and environment that spawned his legend.

DEEP THROAT became such a box office phenomenon that the Religious Right came out in force to demonstrate across the country

DEEP THROAT became such a box office phenomenon that the Religious Right came out in force to demonstrate across the country

NOW AVAILABLE WORLDWIDE

THROUGH AMAZON/KINDLE

http://www.amazon.com/dp/B00YG1DM1I 

Keep SHAUN COSTELLO’S BLOG up and running.
Creating and maintaining this BLOG is time
consuming. If you like what you’ve been reading,
please help me keep it going.
DONATE ANY AMOUNT THROUGH PAYPAL
to my PAYPAL account user name, which is:
shaun.costello@gmail.com

PORNOGRAPHER FOR HIRE

 

  PORNOGRAPHER FOR HIRE

Toiling at day labor in the world of smut.

 by Shaun Costello

 Risky Behavior cover art   In 1978, the Reverend Jim Jones, a self-proclaimed Apostolic Socialist Preacher, increased the world-wide awareness of Kool Aid immeasurably, by moving his “People’s Temple” flock from the city of San Francisco to an obscure corner of Northwest Guyana, where he led them in a ritualistic Jim Jonesmass suicide, leaving over nine hundred rotting, bloated corpses for the world’s Paparazzi to record for posterity.  At Camp David, in rural Maryland, Egypt and Israel shook hands on a peace agreement while, in Lawrenceville Georgia, Larry Flynt, the publisher of Hustler Magazine, was paralyzed by gun shots from an Larry Flyntunknown assailant. In England, the birth of the world’s first test tube baby was recorded – conceived through In Vitro Fertilization. Before the year would end, Atlantic City would legalize gambling, the Love Canal would be declared a federal disaster, and Garfield the Cat would enter syndication. Garfield In the Spring of 1978 I got a call from Roy Seretsky, who had an office in New York’s Film Center Building where I also had space for years. I knew Roy only slightly, and he knew me mostly by reputation. He also knew of my association with Dibi (Robert ‘Dibi’ DiBernardo) and the Gambino crime family. I was considered a protected guy, which meant I was untouchable, a status I reveled in. Dibi, in deference to my friendship with the late John Liggio, had kept the status of “connected” from our relationship. Instead I was considered a “friend” of the family, and friends were protected, without the reciprocity that would be demanded of a “connected” guy, or an “associate”.  An ideal situation.

New York's Film Center housed everyone from the makers of Deep Throat to many Oscar winners.

New York’s Film Center housed everyone from the makers of Deep Throat to many Oscar winners.

  A year before, I had met Roy during the shooting of ‘Fiona on Fire’, a movie I was reluctant to direct. Fiona was written and produced by Ken Schwartz, who owned a film editing facility a few floors above my office in the Film Center. Schwartz was an affable man who I had gotten to know through renting his editing rooms to do post production on Waterpower, a movie I had produced a year earlier.  Ken couldn’t get over Waterpower – how well he thought it turned out, and how absurdly kinky it was. He mentioned to me more that once that, if he ever got the opportunity to produce a film of his own, I would be the only director he would consider. I had been directing adult films for six years, and had always written and produced my own projects, a situation that I was not anxious to change. Working with long-time collaborator, cameraman Bill Markle, I had always written and produced everything myself.  But Ken was relentless, and suddenly the opportunity presented itself. He had written a script based on Otto Preminger’s 1944 classic “Laura” and, through Roy Seretsky, had come up with the

Marlene Willoughby meets a sad end in FIONA ON FIRE, a movie I never wanted to direct.

Marlene Willoughby meets a sad end in FIONA ON FIRE, a movie I never wanted to direct.

money to produce it. The idea of working with someone else’s material was unappealing to me, and I declined Ken’s offer. But sometimes a situation can dictate a change in direction. A film I was planning had been cancelled by its backers, who were restructuring and temporarily out of business, and I found myself unemployed. This, combined with Ken’s relentless pursuit and offers of a hefty director’s fee, changed my position. So I took the job and hated every minute of it. Although I was allowed to hire Markle as the Director of Photography, that hire was my limit. Ken had written a complicated screenplay, with tricky dialogue that even experienced actors would have trouble with, and he expected porn performers, who had difficulty with the simplest scripts, to deal with it. It was impossible. Not only had Ken written the script, but he would also do the casting, so that actors I didn’t know, who had little experience, and even less talent would show up on the set to wrangle with dialogue they had no hope of delivering in any believable way. And, as the film’s director, I was supposed to sort all of this out – make it happen. It was hopeless. Bill Markle did a great job, as always, giving the movie a professional look, but the performance of most of the cast was laughable. At the end of every shooting day, after begging Ken to

After FIONA ON FIRE I swore I'd never hire myself out as a director again.

After FIONA ON FIRE I swore I’d never hire myself out as a director again.

simplify the dialogue, I swore I’d never do anything like this again. Two or three times, during Fiona’s eight shooting days, Roy Seretsky would show up on the set, look around, and then quickly disappear. I had maybe one or two conversations with him, certainly nothing memorable. A year after we wrapped the set on Fiona, I was surprised to hear from him.   Roy had one of the most unique jobs in show business. He scouted investment opportunities in theatrical and motion picture production for organized crime, particularly the Bonanno family. He had put together financial packages for many Broadway and Off-Broadway shows. “Joseph and the Amazing Technicolor Dreamcoat”, which had enjoyed a long and profitable Off-Broadway run, was wholly Bonanno funded, the arrangements made by Roy. Their biggest success was twenty percent ownership of “Cats”, which made them a fortune. On the film side,  Roy was offered all or part of almost everything produced by Dino DeLaurentis. Roy had backers for a script that my old nemesis

The Broadway Musical CATS was mafia owned, and made the boys downtown a fortune.

The Broadway Musical CATS was mafia owned, and made the boys downtown a fortune.

Ken Schwartz had written and wanted to direct, a comedy/sex version of Dracula. The budget was huge, maybe $150,000, which was more money than had ever been spent on what would still have to be considered a porno movie. The script was hilarious, but the backers were nervous. Roy asked me to meet with him, along with some of the Colombo people. My part in this meeting would be to act as consultant in order to advise them on the profitability of the project.  The meeting was held at Lanza’s Restaurant, on First Avenue and Twelfth Street. Roy, myself, and two of the Colombo people would participate. My good friend and sponsor John Liggio, a ranking member in the Colombo family, had died of lung cancer a few years before, and I recognized one of the Colombos from the funeral.  He worked under John, and knew of our friendship, so the mood of the meeting was warm and friendly.  They laid their cards on the table and I advised them as best I could. Ken Schwartz, who wrote the script and was lobbying to direct it, wanted to cast Jack Wrangler, a notoriously gay porno actor, famous for his live-in relationship with singer Margaret Whiting, as Dracula.  Mafia members are born homophobes, and they were nervous about putting up the

Lanza's Restaurant on First Avenue was kept open for meetings like this one.

Lanza’s Restaurant on First Avenue was kept open for meetings like this one.

biggest budget ever spent on a heterosexual porno movie (Dracula) starring a notoriously gay actor (Jack Wrangler). Wrangler had told Schwartz that if he got the part his good friend, famous Broadway wardrobe designer, William Ivey Long, would do the costumes. A stage-struck Schwartz was smitten with the idea of Long’s participation and, although I had no idea how that would add to the project’s profitability, I continued to listen. I heard them out and told them what I thought. Ken’s script was hilarious, and had real possibilities if correctly handled. I had met Wrangler a few times and liked him. I told them that Jack might make a very campy and funny Dracula. When asked if I would cast him I told them that, with a budget this big, it could be risky. I suggested that if the decision were mine I would cast Jamie Gillis as the moody vampire. On the Schwartz/directing issue I told them that he would probably be fine, but he should be closely watched. First time directors have a tendency to overshoot, and in 35MM that could lead to stock and lab overages that could be substantial. The meeting ended and we went our separate ways. I left the meeting hungry because the food at Lanza’s was awful. The place was kept open exclusively for meetings like this one, not for its cuisine. 

Jack Wrangler, pictured here with his main squeeze singer  Margaret Whiting, would have made a funny, campy Dracula, but the mob's homophobia wouldn't allow it.

Jack Wrangler, pictured here with his main squeeze singer Margaret Whiting, would have made a funny, campy Dracula, but the mob’s homophobia wouldn’t allow it.

  A few days later Roy called. He asked me if, as a favor (a big word with these guys), I would take the job of assistant director on the picture in order to keep an eye on Schwartz. I declined. Having an obvious spy in the crew would only serve to make the first time director nervous. Roy had his back-up offer ready. He said that if I would direct the movie for a flat fee he would hire Gillis to play the lead, and I would have final say on all casting. This would mean a month in the city, and I had been training for a major dressage competition in Rhinebeck in a few weeks, so this was not an appealing idea. Also, it seemed like Fiona redux, which was an awful thought. But I knew that, if I said no, the Colombo’s would pressure the Gambinos, and I would get a call from Dibi suggesting I do this for the good of all concerned. So I caved. During pre-production it became obvious that the whole project was quickly becoming a mess, but there was one exception.  Ken Schwartz, who had been kicked upstairs as Producer, and was becoming strangely

Jamie Gillis wound up playing the moody vampire. He was my first and only choice.

Jamie Gillis wound up playing the moody vampire. He was my first and only choice.

unstable, had hired a typist/PA on the production who caught my eye. He was a skinny, mousy guy with thick glasses, and a mid-western accent, who seemed to be an island of quietly assertive competence in the sea of chaos that this production was becoming. This was Mark Silverman, who would become my producer and friend for the duration of my tenure as a pornographer. The shooting of “Dracula Exotica” took over three weeks. I had a script supervisor and even an assistant. There was a production manager named Bill Milling, who I loathed on sight, and the biggest crew I had ever seen, much less worked with. Ken Schwartz spent most of his time going over sketches with William Ivey Long, the famous Broadway wardrobe designer, who took the job because he thought his friend Jack

Broadway costume designer William Ivey Long, who thought his friend Jack Wrangler was playing the lead, quit after the first week of shooting.

Broadway costume designer William Ivey Long, who thought his friend Jack Wrangler was playing the lead, quit after the first week of shooting.

Wrangler was going to play the lead.  Long quit after a week. The first night of pre-production, Milling and I got into it over something. As the shouting got louder, and the tension approached the red line, Mark Silverman, who was the lowest ranking production assistant in the crew and had the title “typist”, walked right over to the shouting parties and said, “Hey, do either of you two assholes want coffee?” I was in love. With one line Mark was able to diffuse the argument, and even get a few laughs. My kind of guy.

Dracula Exotic turned out to be a big disappointment.

Dracula Exotic turned out to be a big disappointment.

  I was happy with the look of the dailies. If only Ken Schwartz could handle post-production, he’d have a huge hit on his hands. By the end of the first week of shooting Schwartz, who had been growing more unstable with each production day,  had a nervous breakdown. It seems that earlier in the day, William Ivey Long, the wardrobe designer, who was disappointed at the absence of Jack Wrangler, quit the project, and Ken flipped out. I was in a screening with Bill Markle and Robbie Lutrell, the special effects designer, when Mark Silverman burst in. “We have a big problem”, he said. “Ken has flipped out, and Bill Milling is running around like a lunatic, making phone calls and telling anyone who’ll listen that he’s taking over the picture”. I told Mark to get Roy Seretsky on the phone. I told him not to give details, but that he should get over here right away. Ken was sitting behind his desk mumbling something and had become completely dysfunctional. I guess that being responsible for this sized budget had gotten to him. Anyway, Roy showed up and straightened Milling out, and we kept shooting. Ken gradually recovered his ability to speak and by the end of shooting seemed normal, but wasn’t. The responsibility for the huge budget had gotten to him, and the loss of his famous wardrobe designer was the last straw. He never seemed to recover his original enthusiasm for the project. Ultimately, Dracula Exotica was a real disappointment. The cast, particularly Jamie Gillis, Vanessa Del Rio, and Bobby Astyr were terrific. The sets were elaborate. The locations were lush and inventive. Ken’s script was funny. But the picture just never worked. Schwartz, who seemed to have lost all faith in the production, and in order to save a few shekels, hired Robby Lutrell, the special effects designer on the project, who had never edited anything in his life, to cut the picture. The dailies had great potential, but the finished picture was flat. Robby couldn’t cut sex, and he couldn’t cut comedy, a bad combination. Dracula Exotica could have been a breakthrough picture for all concerned but, because Ken cheaped out in post production, all that expensive footage, that took us all so many long shooting days to achieve, was wasted. If asked, I probably would have cut the film for nothing, and the result might have been quite different. But I wasn’t, and this time I swore, and stuck to it, never to work as a hired gun again.

In the 1970's, New York's Pussycat Theater, owned by the Bonanno crime family, was the number one venue in the country.

In the 1970’s, New York’s Pussycat Theater, owned by the Bonanno crime family, was the number one venue in the country.

  I’m going to take a moment here to explain why adult movies with big budgets like Dracula Exotica were, from an investor’s point of view, pure folly. During the Seventies there were a finite number of first run adult movie houses in major cities, just as there were a finite number of second and third run (where the real profit was made) houses in the suburbs and rural areas. In 1978, the year I made Dracula Exotica, a Porn Feature made its reputation playing the big houses in NY and LA. This assured that picture of major play in the rest of the big cities. The biggest play date

Mickey Zaffarano, a Bonanno family Capo, operated the Pussycat Theater for the mob, He died of a heart attack during an FBI raid on the theater.

Mickey Zaffarano, a Bonanno family Capo, operated the Pussycat Theater for the mob, He died of a heart attack during an FBI raid on the theater.

  was the Pussycat Theater in NYC. The Pussycat played the biggest pictures, not because of their quality, but because of the familial connection of the backers. Since the Pussycat was owned and operated by New York’s Bonanno crime family, it stood to reason that a Bonanno funded picture would be first choice, guaranteeing a nice profit for its investors. A full page rave review, written by Al Goldstein, would appear in Screw the week of the opening, with quotes galore, available for the print ads and one-sheets. Goldstein was on the Bonanno’s payroll, and did what he was told. If no Bonanno funded picture was available then a Gambino funded picture would play the house, followed by a Colombo funded picture, etc. The rule of thumb was that the first run houses in major cities made back the picture’s negative cost, and the second and third run houses in the hinterland made the profit. The same is true in television, where the network run makes back the production cost, and syndication makes the real profit.  

The formula was:   Dollar one of profit was reached at 2.5 X negative cost.  

So a Movie like Dracula Exotica, which had a production cost of $150,000 and additional lab costs (internegative, and release prints) of $30,000 had a total negative cost of $180,000. This meant that it would not make dollar one of profit until it grossed $450,000. That’s a number that might take years to reach. The only reason that the budget was so big was to make Ken Schwartz feel good about himself. He convinced Roy Seretsky, who arranged the financing, that he could produce a “Breakthrough” movie that would make them all rich and Roy bought into Ken’s fantasy, a bad decision, from a purely business point of view.

When I was approached by Cal Young, that same year, to make a picture with Dom Cataldo’s money, I was careful about how I approached it. This was Cal’s first attempt at a “better” movie, and I liked both of these guys, and wanted them to do well. Also I had a piece of it. So I designed the production to maximize profitability. I came up with a great title (Afternoon Delights), wrote a screenplay that revealed itself in vignettes (more bang for the buck), shot the movie in 16MM, specifically designed to be blown-up to a 35MM internegative, and limited the 35MM release print run to ten (you rarely needed more). Dom Cataldo was a highly ranked sub-boss in the Colombo family with gambling operations in Brooklyn and Queens, so opening Afternoon Delights at the Pussycat was assured. That would mean that the two pictures would have pretty much the same play dates throughout their runs.

  Let’s compare them:   THE TALE OF THE TAKE:

Dracula was ultimately a disappointment to its backers.

Dracula was ultimately a disappointment to its backers.

  DRACULA EXOTICA: “The Heavyweight Champ and disappointment to its backers”

Negative cost $180,000

Dollar one of profit reached at $450,000.

Gross revenues (as of ‘83) $550,000. (I know this number because Seretsky, who was pissed at Ken Schwartz, told me)

Profit: $100,000. or 56% of its negative cost.

Afternoon Delights turned out to be a cash cow for its investors.

Afternoon Delights turned out to be a cash cow for its investors.

  AFTERNOON DELIGHTS: “The Lightweight Challenger, and little known cash cow”

Negative cost $60,000 (production cost $40,000…blow up and print run $20,000)

Dollar one of profit reached at $150,000.

Gross revenues (as of ‘83) $500,000.

Profit $350,000. or 580% of its negative cost.  

Which investment would you rather have made? The moral to this story is that,  back in 1978, as long as you were connected, spending more than $60,000 on an adult movie was pure folly. Other than freakishly profitable blockbusters like, Deep Throat, Behind the Green Door, and some others, most adult movies made the same money, provided they were ‘Family’ financed, and looked good. The pictures I made for Reuben Sturman a few years later were made with video in mind somewhere down the road, so they had to appeal to a wider audience, namely couples. Sturman wanted a “Look”, was willing to pay for it, and it was money well spent. He had the foresight to understand where the business was going. At this point the ‘Families’ were coming to the conclusion that there was more money in heroin and cocaine than in porn, which was basically the end of them.  

Mafia arrest pic *

© 2014 Shaun Costello

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THE FIRST REVIEW OF “WILD ABOUT HARRY”

Harry cover alternative two

From The Erotic Film Society in London

The first review of:

WILD ABOUT HARRY

by Shaun Costello

For such a prolific director – at least 66 films between 1973 and 1984 – Shaun Costello remained one of the New York XXX scene’s best kept secrets for many years. One reason is the number of noms-de-porn he worked under.

He made more than his fair share of films that are now recognised as classics but not always under the same name – he was ‘Kenneth Schwartz’ for FIONA ON FIRE but ‘Warren Evans’ for DRACULA EXOTICA, for example – and this prevented him from getting due recognition until relatively recently.

For notorious roughies FORCED ENTRY and WATERPOWER, he was ‘Helmuth Richler’ but ‘Amanda Barton’ made the sensitive PASSIONS OF CAROL. At Avon Productions he was ‘Russ Carlson’ and for a while he was even ‘Oscar Tripe’; plus there were numerous uncredited one-day-wonders.

In ONLY THE BEST, published at the dawn of the video era, critic Jim Holliday indicated that one person was behind some of these pseudonyms; but pre-internet it was pretty much impossible for even dedicated pornologists to crack the Costello code.

Public outrage at Deep Throat's popularity

Public outrage at Deep Throat’s popularity

With the advent of the web, the IMDb and IAFD and dedicated discussion forums where smut-hounds could compare what they’d discovered, facts began to surface.

Then something occurred that every film historian dreams about; Shaun Costello himself joined the forums. He posted on IMDb. He corrected. He clarified…   And suddenly his incredible career came into sharp focus.

Not just those 66 films that he helmed but around the same number of appearances from 1971 to ’89 – and that doesn’t include loops – plus at least 50 films he produced and a similar number of writing credits. It’s a wonder he ever found time to sleep.

On the evidence of WILD ABOUT HARRY, his by turns hilarious and moving memoir about his friendship with Harry Reems, during the pre-DEEP THROAT days of Big Apple hard-core, sleep was often the last thing on his mind.

Whether he was editing into the early hours – the only way he could afford post-production facilities – or heroically carousing with his buddies – ‘the Three Musketeers of 42nd Street’ – those years in the late 60s and early 70s seem to have been one madcap adventure, where anything was possible.

Harry and Linda Lovelace in DEEP THROAT

Harry and Linda Lovelace in DEEP THROAT

A voracious film fan, from art-house masters to grindhouse smut, Shaun absorbed everything. He fell into the pornographic loops business by happy accident, just as they were on the borderline of becoming legal, or at least tolerated, in the adult bookstores of the Deuce.

And he was there when a handsome, young, legit actor – still known by his birth name, Herb Streicher – made his debut in an explicit 8mm film destined for ‘under the counter’ sales.

(Assumed names were cast aside faster than underwear: Herb wouldn’t settle on Harry Reems for a couple of years, after he’d tried on ‘Tim Long’ among other aliases.)

It wasn’t just the start of a professional relationship – Shaun cast Herb/Harry as a disturbed Vietnam Vet in FORCED ENTRY, his first feature as director – it was the beginning of a deep friendship.

And now Shaun has published this memoir of those heady days – and that double entendre is very much intended – as a tribute to his buddy, who passed away in March of this year.

Anyone who knows the recipe for Automat Soup (a container of ketchup and hot water, if you’re asking – gourmets break some gratis crackers on top to simulate croutons) will probably already have a copy.

The United States of America v Harry Reems

The United States of America v Harry Reems

But what if you’re not a dedicated devotee of the Deuce and are wondering whether to purchase? Or what if you – horror – have to ask, ‘What’s the Deuce’? Well, let Mr Costello explain…

‘The Times Square subway station, my portal to the neighborhood, was an intense assault on the senses. A sudden, almost overwhelming surge of smells and filth hit you as the train doors slid open to the rush of urine, and cotton candy, and damp humanity, and hot dogs on their revolving spits, and vomit, and baked goods like crumb cakes and bran muffins and pretzels, and the garlicky pungent scent of Gyros slowly rotating, and everything suddenly interrupted by someone chasing a pick-pocket through outstretched hands asking for dimes, and a tidal swarm of the disenfranchised huddled in groups, trying to stay warm. And this entire sensory phantasmagoria was musically scored by the overmodulated sound of Kool and the Gang wailing “Jungle Boogie” from the cheap speakers over the door to the subterranean record store. And then the cold again as you climbed the stairs to the street, and there it was, “The Deuce”.’ (from WILD ABOUT HARRY © 2013 Shaun Costello)

From this vivid evocation of arriving at 42nd Street, you should immediately have discerned that our guide to all this decadence has a very neat turn of phrase indeed, which he puts to fine effect throughout the book.

Jack Nicholson and Warren Beatty come to Harry's rescue

Jack Nicholson and Warren Beatty come to Harry’s rescue

It’s prose that encapsulates the sights, the sounds, the smells, the animal excitement of the city – and the only reason not to enjoy it is that it makes you break down and cry, lamenting the passing of such delightful debauchery.

Herb being Harry, and enjoying himself

Herb being Harry, and enjoying himself

‘Delightful debauchery’? Well, yes. Shaun Costello is aware of the oxymoron. On the one hand, he’s a cultured chap, dating a wealthy heiress. On the other, he’s working his way up the porn ladder.

And he’s having fun all the way, along with his lifelong friend Jimmy and – of course – Harry, who is seemingly ever ready for an adventure. Such as one hallucinogen-fuelled romp which takes them from Times Square to the East Side via various apartments whose inhabitants are woken at unearthly hours, before disgorging them on a pitch-and-putt golf course by the beach… all described with a panache that matches Hunter S Thompson’s knack for conveying altered reality.

When DEEP THROAT made Harry a porno chic superstar, his world suddenly became a round of press and promotion and personal appearances, followed equally swiftly by the traumas of the authorities’ attempts to prosecute him for merely appearing in the film.

During this period, Shaun lost contact with his buddy, so he has to rely on the interviews that Harry made when he reappeared from anonymity (he’d become a real estate salesman in Colorado) in the wake of the documentary INSIDE DEEP THROAT, to describe what happened.

Initially I was worried that this could turn into a cut and paste job, but Costello has chosen and edited the quotes with great sensitivity.

Fanny was a Puerto Rican stripper who taught young Herb everything he knew about sex

Fanny was a Puerto Rican stripper who taught young Herb everything he knew about sex

It’s rather like that moment in a jazz number, when the star soloist comes forward. We’ve enjoyed Shaun talking about his friend and now we get hear Harry’s own voice.

And what a lovely voice it is, especially talking about his conversion to Christianity and the spiritual belief that saved him from alcoholism (with the aid of a 12 step programme).

This sort of tale could so easily be preachy. And how often have former porners turned on the business, their former friends, their whole past life, when they found God?

But Harry – or Herb – was clearly such a sweet guy – and his story of salvation comes over as so genuine – that even if you don’t believe yourself, you can’t help but feel glad that he found that faith because it saved his life.

And then there’s a coda: a meeting years later; a final phone call. It’s deeply touching and heartfelt. Shaun Costello has written as beautiful a tribute as anyone could imagine. Any quibbles? Just one. I was left ravenous for more of Shaun’s own autobiography. From his contributions to various forums, I know he has great tales to tell and that he tells them in an exceptionally entertaining manner.

Herb/Harry found love, God and happiness in the mountains of Utah

Herb/Harry found love, God and happiness in the mountains of Utah

   WILD ABOUT HARRY

is available as an eBook

http://store.blurb.co.uk/ebooks/384584-wild-about-harry

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WILD ABOUT HARRY

WILD ABOUT HARRY

A friend who knew him well

remembers HARRY REEMS

by Shaun Costello

AVAILABLE NOW

WILD ABOUT HARRY (Coiver)

AVAILABLE NOW

On March 19th, just three weeks ago, HARRY REEMS, the star of Deep Throat and many other adult films of the 1970’s, died of pancreatic cancer, at a VA Hospice in Salt Lake City, Utah. Before the media circus that surrounded Deep Throat created the fast talking, Burleaque-comedic actor know as HARRY REEMS, he was just a young man, trying like so many before him, to make it in show business. He was born Herbert Streicher to a Jewish family in Brooklyn, and was a close friend of mine. When I read the news of his death I was devestated. So many rich memories. Such an important friend. I knew I had to do something, so I put everything else aside, and sat down to write a personal reminiscence of my friendship with Herb. I have worked almost around the clock, since the day after his death, and finished the text yesterday. I’m very pleased with how it came out. I think Herb would be too.

Herb and Harry – a dichotomy he leaves behind for the rest of us to puzzle over. As Herb he was a son, a brother, a Bar Mitzvah boy, a High School track star, a student, a Marine, an aspiring actor, and a loyal and generous friend. As Harry he was a porn icon, an international celebrity, a darling of the TV Talk Show circuit, a victim of judicial overreach, a convicted felon, a finally-absolved and victorious defendent, a drunk, a drug addict, a Twelve Step Champion, a converted Christian, a successful real estate executive, a scratch golfer, a semi-pro skier, a loving husband, and, at long last, a happy man.

WILD ABOUT HARRY is a hard cover, eight by ten, four color book – text driven, and including over a hundred four color and black and white, fun images of HARRY’S life. It’s being printed on an on-demand basis and is available now at the link below:

http://www.blurb.com/b/4214470-wild-about-harry

 I’m quite pleased at how this story came out, and, for those of you who have a fascination with the Seventies, the birth of the adult film industry, the First Amendment trial and media circus that surrounded the prosecution of Deep Throat, and the complex character that was HARRY REEMS, you will be too.

AVAILABLE NOW – CLICK ON LINK BELOW

http://www.blurb.com/b/4214470-wild-about-harry

****************

NOW AVAILABLE AS AN eBOOK FOR iPAD: $ 9.99.
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