Mainstream Media Continues the Dirty Work Started by Mondo Movies
Gays: One-Dimensional sex freaks
Plain and simply, the point of mondo movies or shockumentary films was to cause upset in the viewer. I estimate that 1967 was a pinnacle year for these documentaries that specialized in exploiting unknown cultures and subcultures.
Motorcycle gangs, fetishists and homosexuals became tested and proven exploitable topics that could be presented right alongside white slavery rings and dog fights. The Savage Eye was made in 1959 and includes men in drag to help illustrate the pathetic human condition. It wasn’t until 1973 that homosexuality was removed from the DSM as a listed mental disorder—that is many years of mondo exploration from a mostly biased point of view.
But what mondo movies actually reveal is that gays couldn’t be shown in their natural settings at home, work or participating in other activities because that would be almost as boring as watching straight people do those things.
Mondo movies illustrated that gays must be represented sexually because that is how they are defined. HOMO SEXUALS. And if you notice, that is STILL how gays are depicted in mainstream film, news and media—one-dimensional cut-outs who are required to be sexual creatures before anything else—even before puberty. I wonder where kids get their ideas?
During the height of the mondo craze, gays were just freaks to laugh at and be disgusted by, but it was mainstream corporate and globalist media that made sure to continue defining homosexuality as purely sexual and freakish. Gays aren’t people first to the globalist media, they’re still only a commodity to exploit. Some things never change.
The two reviews below are from The Deprogrammer’s Other Cinema Spectacular. Check out the 70+ film index below for full list!
QUEENS AT HEART (1967)
Only 20 minutes long, this short documentary is worth taking a look at and features some nice footage of a drag ball, complete with an obese drag queen who just can’t help exposing her pudgy breasts—a classic move that, I dare say, is here to stay. However culturally significant and interesting the vintage footage is, I think it’s a good idea to keep in mind the final words of the narrator, “We know that homosexuality is a psychological aberration to be treated by a competent psychiatrist…” The claim that “thousands” were interviewed for this film comes into doubt when all you have to show for it are four queens who were brought together through drag balls.
A man named Jay Martin conducts his interviews from behind-a-desk and asks questions relating to work and how they dress on the job, but mostly he probes on the type of sex they have when they go on dates with other men. Censor bleeping occurs when one queen starts talking about where and how she takes it. When asked if she waits before having sex with a man, the same queen gives the best line of the film and says, “Are you crazy?” Asked about the reaction from men when they find out that she’s actually a man, she responds unbelievably, “They don’t care.” Something I find hard to believe unless chicks with dicks was their thing.
The questions posed and some of their responses reveal that there is more exploitation going on than documentary filmmaking. Queens at Heart was made at the peak of the mondo craze and it looks and sounds like a mondo movie segment that never made it into a feature length film. Segments revealing the secrets of gay subcultures were not uncommon to this genre.
In the mondo tradition, only the most shocking is worthy of inclusion so of the thousands interviewed, it comes as no surprise that the four who end up in the final film all want sex changes. Most or all of the queens admit to being on female hormones, one of them says that the only effect has been weight gain since she’s only been on them for two weeks.
Vicki says that the procedure starts at two thousand dollars and that she wants to get her sex change in Casablanca. She explains that getting the procedure is “a step away from loneliness and suicide because most of the homosexuals and drag queens, they get to a certain age and they don’t want to live no more. I’ve just about hit that age. I just think about being a woman and hope that can be an escape.” All the detransitioners today can attest to how wrong that hope is
At the time of this writing, activists on iMDB have been quick to give this a rave review and refer to the queens as transwomen in the synopsis.
Ultimately, the queens are authentic, open and most interestingly, and to my approval, very sedate. They sit side by side, bored the way people get when they’re in a waiting room too long. I like these queens, there is nothing shrill or obnoxious about them, very unlike the variety who too often feels the need to characterize their gender deviations with loud and grotesque behavior.
MONDO BALORDO (1967)
The mondo movie genre has always been inclusive of gays, lesbians, and trans. The episodic format of these documentary and pseudo-documentary films are ideally suited to exploit anything in short bursts of storytelling and unseen gay culture was fertile ground to pillage and to shock audiences with. Narrated by Boris Karloff, Mondo Balordo documents the unusual and bizarre for the time global fringe weirdness. It has a casual liberal approach to homosexuality and the segments are not nearly as startling as mondo can get. In one, a German nightclub headlines a Marlene Dietrich-styled drag queen performing for a small crowd of edgy nightcrawlers. In the other, cameras are allowed into a private Scandinavian club for butch and femme lesbians who are caught staring into each other’s eyes. Both segments appear to be staged giving the segments a quality that feels more like a reenactment with not much substance or authenticity.
(1964; Roberto Bianchi Montero)
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THIS IS NOT A TRIGGER WARNING: The Deprogrammer Vol. 2, an outrageous artist publication that eviscerates the current politicized state of gay culture and life as we know it.
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