BOTH WAYS (1975)

Title: BOTH WAYS

Year of Release: 1975

Director: Jerry Douglas

Genre: Adult, Drama

Synopsis: A married man, and father to a young son, has a male lover on the side, which causes him considerable trouble, turning his life upside down in the process.

Within a film history context: Male bisexuality was not a common topic in cinema before the 1970s. One of the first to deal with the subject was Robert Mulligan's INSIDE DAISY CLOVER (1965). The story of a young woman in 1930s Hollywood, and how her life changes irrevocably when she becomes a star, had a subtly shaded bisexual male character played by Robert Redford. TEORAMA (1968), directed by Pier Paolo Pasolini, explored the entrance of a young man into an upper class family, and how he insinuates himself both emotionally, and sexually, with its male, and female members. Ken Russell's WOMEN IN LOVE (1969) was set in 1920s England, and featured the relationship between two men, and how this explored the complexities of heterosexuality, bisexuality, and homosexual attraction between these two protagonists. It is famous for a naked tussle between lead actors Alan Bates and Oliver Reed that made clear the characters' bisexual tendencies. With SOMETHING FOR EVERYONE (1970), directed by Harold Prince, a man in post World War II Austria carries on affairs with both a woman, and a man, and others in this black comedy. 

LOOT (1970), directed by Silvio Narizzano, was of an even more offbeat nature. In this movie, two gay lovers plan to rob a bank, which they do naked, but one of them is also involved with a wacky nurse suspected of murder. Michael Tuchner's VILLAIN (1971) had a character alternate between both his male, and female lover in this British crime movie. More potent was SUNDAY BLOODY SUNDAY (1971), directed by John Schlesinger. This movie charts a very different love triangle, with a young bisexual artist the lover to not only a female doctor but also, another man. Controversial in its time for a kiss between actors Murray Head and Peter Finch, and this homosexual relationship, it was a step forward for depictions of bisexuality in the cinema. Bob Fosse's CABARET (1972), set in 1930s Germany, had a bisexual male character who not only carried on with a woman, but also, a man, in this famous movie. Of all the films which featured male bisexuality as the essence of the movie, BOTH WAYS was the most in-depth.

Where many of the pictures had a bisexual man as a supporting character or slightly greater, such as in INSIDE DAISY CLOVER, LOOT, or CABARET, in BOTH WAYS Donald Wyman dominates the movie. He is the springboard from which all the action in the film emanates. Most similar in manner was TEORAMA, and to a lesser degree SUNDAY BLOODY SUNDAY, with their male bisexual protagonists infiltrating both male, and female bedrooms with fluidity. BOTH WAYS differs from these in its full-blooded presentation of Donald Wyman's relationships with both men, and women. The film's X-rating allowed for an unrestricted view of Donald's sexual trysts not only with his wife but also, his male lover, and, in one scene, his neighbour's wife. This is something the other pictures could not present due to their mainly R-ratings, which did not permit scenes of actual sexual activity within the respective movies. Having these scenes gives a vividly realistic view of humanity, and how these relationships consequently buckle under from licentious sexuality. BOTH WAYS also goes much further than the other movies in more ways.

WOMEN IN LOVE, LOOT, and SUNDAY BLOODY SUNDAY touched upon male desire for someone of the same sex, and the problems that occur in such predicaments, but BOTH WAYS takes dicey twists and turns in exploring Donald's bisexuality. These give the movie a psychological edge which raise it considerably in comparison to others in the genre. Having Donald introduce Gary as a friend to his wife was a daring move showing just how overly-confident, and smarmy, he was in showcasing his lover this way. In addition, the crisscrossing of Donald's sexual activities with both his wife, and lover, appears to glamorise these at first glance. In effect, the climax, brought on by Janet's realization that her husband has a male lover, though, gives the movie a palpable sadness, and punch. The net effect leaves the viewer with a sobering picture of a wanton, destructive, and self-destructive lead character who only thinks of his own wants and needs. An audacious entry in the films about male bisexuality, BOTH WAYS is a riveting movie.

Overview: Jerry Douglas was predominately a director of gay hard core pornographic videos who made three feature films which contained a narrative alongside adult sexual activity. His first movie, THE BACK ROW (1973) was the story of two men roaming along Times Square, New York, and indulging in various sexual hijinks. It featured two models who were prominent in many gay films of the Golden Age of Porn, being Casey Donovan, and George Payne. Mr Douglas' final feature film, KISS-OFF (1992), which has fallen into obscurity, was a movie about a policeman, his work, and extracurricular activities, especially those to do with the same sex. Jerry Douglas' second movie, BOTH WAYS, was his best film for a number of striking reasons.

With BOTH WAYS, Jerry Douglas has crafted a strong movie that tackles the issue of male bisexuality head on, carefully examining all sides of the equation. He follows the life of a happily married man, Donald Wyman, who has a loving wife and son, and resides in comfort in the suburbs of New York. A lawyer, he frequents gay leather bars on the side, and has a male lover with whom he is often in contact for secret trysts. At the outset, this may appear a sordid scenario with nothing of value to redeem it, but Jerry Douglas makes his conflicted protagonist someone with whom the audience can sympathize, despite his often duplicitous behavior. It gives the viewer the opportunity to witness the events in the turbulent life of Donald Wyman, and how his actions and passions make deep marks on both his family, and lover. The movie has an honesty in its presentation which raises it above the vast majority of films which contain pornographic content as part of the film's content. In seeking to be as open and frank with the subject matter by including nudity and sex scenes in BOTH WAYS, though, this also works against it in some ways.

Thankfully the majority of sexual content in BOTH WAYS is in snippets rather than full scenes, which could be said to illustrate the hot and heavy relationship, in particular, between Donald and lover Gary. It is spaced out by scenes between the two men communicating on a deeper psychological level, giving this union weight. The sequences between Donald and wife Janet are similarly full of meaning, the sexuality a small part of this exploration of their marriage. Where the film comes unstuck is in the partner-swapping scene where a foursome between Donald, Janet, and their neighbours Hank and Louise takes place at a party. On the one hand it depicts the elastic morals of this group of people, but on the other hand, it veers directly into porno territory with closeups of genitalia and sexual activity. It takes something away from the film with this scene, and could have been abbreviated successfully. The one key thing that occurs during this scene is when Donald reaches for Hank's penis during the orgy, and his advance is rebuffed. This leads to Hank discovering Donald's bisexuality, which gives another dimension to Donald being judged by another man. In addition, Janet's regretful reaction to what occurred at the party is also noteworthy, giving another perspective of this event for the viewer. Other features of BOTH WAYS are likewise worth discussing.

Having a child character in the movie at first glance seems incongruous, but as this is the exploration of a family man and, also, the relationship with his son, it works. It gives the film a pathos, especially in the final scenes where David asks if his father will be joining him and his mother, but Janet does not respond. Another related facet that lifts this movie into a thoughtful sphere are the presence of other supporting characters who give depth to the proceedings. The Wyman housekeeper, Pauline, functions as a Greek chorus, commenting upon the 'strange things' which she feels are taking place in the household. Having Pauline in the film provides another viewpoint on the decaying morality of her employers, as her concern is with the welfare of the Wymans' son David. Her antiques dealer friend Irwin adds yet another outlook on the action. Irwin's final scenes are a surprise out of left field, implying that Donald will be facing more challenges through him, not a simplistic set of events in any respect. On these grounds, BOTH WAYS, despite having pornographic content within its running time, is an intricate, contemplative work that makes the viewer think about male bisexuality, and the messiness of human relationships.

Acting: BOTH WAYS utilizes its cast in a great capacity. In the lead role of Donald Wyman, husband, father, and lover, Gerald Grant excels. An actor who played in four films in his career, this is the movie in which he is best spotlighted. Mr Grant captures the essence of the loving, selfish, sensitive, ruthless Donald, and makes him a thoroughly complex protagonist. As Donald's wife Janet, Andrea True does a fine job as the devoted wife, and mother, whose life is irrevocably affected by her husband's activities. She has a delicacy in her acting that makes Janet a believable figure. As Gary, the other man in the marriage of Donald and Janet, Dean Tait has a naturalness in front of the camera which works. While seeming shy and mousy in the beginning of the movie, Mr Tait unravels layers of Gary being more indomitable than first meets the eye. Neil Scott, as David, Donald and Janet's son, is a convincing performer who makes his character real, and never cloying. Participating in some of the most telling sequences in the film, Mr Scott is touching as another of Donald's victims in the film. Four other actors give great accounts of themselves in BOTH WAYS.

As Hank, the neighbour of Donald and Janet, Bill Morgan exudes an everyman feel that can especially be felt in the supermarket revelation scene with Donald. As with many actors in the movie, Mr Morgan did not appear in many motion pictures, which is a shame considering his work here. More active in the realm of adult movies was Darby Lloyd Rains as Hank's wife Louise. Utterly persuasive as the over-sexed Louise, Miss Rains delivers a dynamite performance in the short time she has on screen. In sheer contrast, Katherine Miles as Pauline, the Wymans' housekeeper, is on the opposite side of the moral spectrum to her employers. In the beginning her character seems to be robotic, and more on the comic side of the fence. As the movie unreels, Miss Miles reveals a sensitivity, and nous, which make Pauline someone who carries an insightful perspective into the lives of the characters she serves. The final acting of note was by Jake Everett as Irwin, the antiques dealer close to Pauline, who is drawn by her into the life of Donald Wyman. The crafty Irwin is given careful shading and humor by Mr Everett, and his scenes are one of the delightful aspects of BOTH WAYS.

Soundtrack: BOTH WAYS has an excellent soundtrack, composed by Hal Jordan, which covers all the emotional bases in the movie. From the sensitive tune when David and Donald are together, to the more intense music during the heated scenes, and the aftermath of Donald and Gary's story, it is 1970s in orientation with its instrumental theme, but nevertheless still effective.

Mise-en-scene: BOTH WAYS works in many ways on a visual level which adds depth to the proceedings. Cinematography by Ken Savitt beautifully captures events with an even use of colour that is pleasing to the eye without ever intruding on what is taking place on screen. Interior, and exterior locations are all well-selected and appropriate to the story. The many outdoor location scenes such as outside the Wyman family home, at the carnival, and where Donald and Janet converse early in the picture, give a sense of being well-rounded. In addition, sets such as the comfortable Wyman family home, Donald's pad in the city, and Hank and Louise's home are all evocative of the characters, and their mindsets in a non-verbal manner, also expressing the socio-economic profiles of its protagonists.

Notable Acting Performances: Gerald Grant, Andrea True, Dean Tait, Neil Scott, Darby Lloyd Rains, Bill Morgan, Katherine Miles, Jake Everett.

Suitability for young viewers: No. Infrequent coarse language, male nudity, female nudity, adult themes, medium-level violence.

Overall Grade: B

Link: IMDB Page