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The 20-minute “Beaver Fever” is more complex. While these shorts are fun, they feel more like sketches. “The Mean Brothers Get Stood Up” is also a musical the title characters (Mark Ellinger and McDowell) bemoan in song, about their dates not arriving at the appointed time. When her maid (Ainslie Pryor) conspires to rob her, all hell - and a musical number breaks out. The amusing short, “A Night with Gilda Peck,” also features Hohalek playing a society lady who lives in a penthouse apartment. She encourages folks to come to the midnight movie. “Kathleen Trailer,” like “Ainslie Trailer,” is a 2-minute theater promotional short, this time featuring Kathleen Hohalek. His shorts may feel quaint and amateurish, but they are indicative of the independent underground spirit of the time and the heyday of sexual revolution and liberation. He is obviously having great fun here, and he invites discerning audiences to do the same. “Peed Into the Wind” features campy humor and offbeat situations, and McDowell delights in all of it. There are other more explicit moments, such as an inexplicable scene involving a character gratifying himself, while one dream-like sequence features a man tormenting Millie with a chicken leg (and thigh) acting as a makeshift penis. The opening moments feature Mick crooning the title tune as Frank does, in fact, pee into the wind.
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McDowell does not shy away from presenting full frontal nudity in his work. Meanwhile, a subplot has Goldy Gerr (Kit Carson) searching for Mick and encountering some very horny men in the process. Right,” tracking down various guys he hopes to bed, but Millie haunts him. Unfortunately, Mick is queer, and while he is described by one friend as “a latent heterosexual” - because Mick has relationships with women - he is not interested in Millie. However, Millie is obsessed with Mick Terrific. The story has Frank dumping his girlfriend Margie for Millie. McDowell shoots Ronnie lovingly, filming his naked body in various artistic poses as his monologue unfolds.Ĭurt McDowell’s short film “Peed Into the Wind.”īut the highlight of Program 1 is “Peed Into the Wind,” McDowell’s hour long melodrama about various characters who admire (fictional) singer Mick Terrific (McDowell). The 3-minute short comes to an unexpected “climax.” McDowell’s short, “Ronnie,” is a portrait of a handsome young man who is seen in various stages of undress, recounting his experience as a hustler in San Francisco. Two other shorts in Program 1 are “Truth for Ruth,” in which McDowell recounts an idea he had for a film about a young woman who wakes up on the beach and is searching for something - or someone. “Ainslie Trailer” is an amusing theater advertisement that introduces Ainslie Pryor, who appears in several of McDowell’s shorts, including “Wieners and Buns, The Musical,” a delightfully absurdist short about a married couple (Pryor and Kuchar) who are both secretly in love with the same man (McDowell), who harbors a terrible secret himself. Program 1, which screens at 5:00 pm, features five shorts, all made in 1972. The shorts, which range from 2 minutes to nearly an hour in length, provide a nifty showcase for this cheeky, underground filmmaker who shot grainy, black-and-white, no-budget movies with a stock company of friends, including George Kuchar, who was first his teacher and later his lover. On March 19, the Lightbox Film Center is projecting two programs of restored short films by the late, great, gay underground filmmaker, Curt McDowell, back-to-back.