Wet Rainbow _sitkaman repost.txt
This is the 475th post made to abdec. It was posted by boogle on May 19, 2005.
I don't have any of the original NFO or cover files that might have posted with this film.
Produced in 1973. English. Run time of 1:13:49. DVD size of 3844.079616 MB
This is a Arrow NTSC DVD.
IAFD Entry:
http://www.iafd.com/title.rme/title=Wet+Rainbow/year=1973/wet-rainbow.htm
Wet Rainbow (1973)
Also Known AsRainbow
Minutes: 73
Director: Duddy Kane
Distributor: Arrow Productions
All-Girl: No
All-Male: No
Compilation: No
Release Date: No Data
Performers
Alan Marlow
Georgina Spelvin: Anal
Harry Reems
Mary Stuart
Valerie Marron
Scene Breakdowns
Scene 1. Georgina Spelvin, Harry Reems
Scene 2. Valerie Marron
Scene 3. Mary Stuart, Alan Marlow
Scene 4. Georgina Spelvin
Scene 5. Georgina Spelvin, Valerie Marron
Scene 6. Georgina Spelvin, Harry Reems
Scene 7. Georgina Spelvin, Valerie Marron
Scene 8. Valerie Marron, Harry Reems
Scene 9. Georgina Spelvin, Valerie Marron, Harry Reems
DVD Rear Cover Description:
Harry Reems plays a college professor happily married to artist Georgina Spelvin. Everything begins to unravel, through, when an eye catching student named Rainbow sends him a nude photo. It seems that she's got her sights set on the good professor. Georgina is jealous at first, but soon discovers that she's developing feelings toward Rainbow herself -- strange, exciting ones. She and her loving husband find themselves drawn into a nexus of passion and lust as Rainbow's enchanting allure brings out their deepest carnal desires. An intimate story of lust and love and the differences between them.
IMDb User Review:
http://www.imdb.com/title/tt0195405/
Rocky Road of Romance
23 December 2007 | by Dries Vermeulen (Nodriesrespect) (Brugge, Belgium)
One of the early adult films to deal with serious subject matter, WET RAINBOW rarely if ever receives the accolades accorded to the likes of Gerard Damiano's DEVIL IN MISS JONES or the Mitchell Brothers' RESURRECTION OF EVE. This is a shame as the movie's very much in the same league and even surpasses those hallowed contemporaries in certain respects. Rather frustratingly, it's also one of those adult films whose authorship remains disappointingly vague. Credited director is one "Duddy Kane". Once upon a long ago, I imagined this might be another of the late Sam Weston's many pseudonyms, a private claim no source has sought to confirm or deny in the meantime so I was probably barking up the wrong tree yet again. The reason for my initial suspicion was quite simply the very high standard of acting for such an early adult film, not just by Georgina Spelvin and Harry Reems, re-teamed from MISS JONES but in a far different and much more realistic context, but by little-seen Valerie Marron (who would support late lamented Tina Russell in an obscure Gerard Damiano flick called BOTTOMS UP) as well, essaying the wish-fulfillment title character of the free-loving hippie chick who disrupts their seemingly happy marriage.
In another groundbreaking move, RAINBOW incorporates sex into story much better than most other early '70s skin flicks as an expression of love, need, anxiety or even resentment. Sex fuels the proceedings, makes or breaks relationships, and the intensity thereof should keep viewers glued to the screen. Marron has terrific encounters with both leads separately that naturally enough lead to their climactic threesome, an intricately choreographed sequence filled with passion and yearning, uniting the central characters even though one of them's already on the way out and, no, I'm not divulging which one ! Most memorable scene might be Reems' introducing Spelvin to rear entrance romance with its realistic evolution from pain to pleasure that could almost serve as a step by step instruction for couples watching at home. Ending on a trivia note, there's a haunting song that accompanies Harry and Georgina's lovemaking on two separate occasions, starting with the line "You hold me well". I have always wondered whether this was a (mellow Deep Purple style) ballad composed directly for the movie or rather some "borrowed" track. Any info clearing up this matter would be greatly appreciated.
The Rialto Report did an in depth story on this film:
http://www.therialtoreport.com/2015/01/18/wet-rainbow-1974-two-lives-in-contrast/
Two Lives in Contrast
Two lives. One mystery solved. Another Rialto Report.
Georgina Spelvin Valerie
Harry Reems Jonathan
Valerie Marron Rainbow
Mary Stuart Jean
Alan Marlo David
Ron Wertheim Cab Driver (uncredited)
Directed by Duddy Kane
Written by Roger Wald, Duddy Kane
Executive Producer Rob Trenton
Producer Roger Wald
Director of Photography Pierre Schwartz II
Film Editing Natasha Gottlieb
From University of Chicago Film Program:
The Rialto Report interviewed Duddy Kane in December 2014.
Who is Duddy Kane?
Duddy Kane is me.
Where were you brought up?
I was born in the former Yugoslavia, and I came to the U.S. in 1965 to study architecture. I lived in the town of East Hampton, NY.
What were your pictures of?
That led to teaching and then opening my own studio. Then I left for Montreal for a few years during the Vietnam War. Whilst I was in Canada, I set up a pretty big studio, a successful studio.
You went to Montreal to escape the draft?
So you were a U.S. citizen by then?
When you were growing up, what were the films that you really admired?
When did you first want to make a film?
I moved back to New York, and started teaching photography again.
How did you raise the subject of making an adult film with him?
Except that it had explicit sex.
Do you remember films becoming more explicit at the time?
I wanted to write a soap opera, a romantic soap opera, relating to normal married people.
How much was Ron Wertheim involved in the production?
What was Ron like?
He was just another guy who always dreamt about making movies and was in that whole group of filmmakers, beatniks, who made up that scene. He had to be at least ten years older than me or even more. In fact I was closer to his younger brother.
He was a very interesting guy, extremely knowledgeable, but clearly mentally unstable. He was always pursuing some project, some screenplay or other.
Who shot the film?
We had to fire the guy that I originally hired. We screened the first dailies that we got back from the lab and they were out of focus.
Did your wife have a part on the production team?
Did you write the script?
When we decided to make this movie, it was funny because neither of us was part of that milieu at all. It was all new to us. We were complete virgins in the industry.
How did you come to select Westbeth as a location to shoot?
What was Westbeth like in those days? I imagine it was a great community for artists.
There was always some great drama happening, like people jumping to their death, or Diane Arbus committing suicide; she was on the same floor as me and had killed herself a couple of years previously.
Did you have a producer or someone who raised the money?
Chelly Wilson, who owned many of the theaters on 9th Ave, was another investor.
What were your memories of Chelly Wilson?
How did you get to know her?
Do you remember meeting her?
We went to see her in her office. It was above one of the theaters. She was not a very attractive woman, and she was propped up on this day bed, like a couch, or whatever. She had this woman, a very dyke-y woman serving her.
Fortunately she agreed to provide some of the funding.
The cast is very small; do you remember how you cast the film?
The funny part of it was when Harry Reems came in.
What do you remember about Georgina Spelvin?
Georgina was extremely professional as she always was. She was also older than me so she was good at giving advice. Everyone was giving me advice!
Ron Wertheim plays the cab driver in the movie as well.
What do you remember about Valerie Marron who played the lead role, Rainbow?
She said that it was none of my business what she wanted to do it for.
The Rialto Report interviewed Valerie Marron in July 2008.
I was born Valerie Merians on 22nd October, 1955.
What was your upbringing like?
At first it had shows by many of the famous singers and bands who flocked to Woodstock to record their music, but then it became a venue that bands would on insist on playing as part of their touring schedule.
What effect did his interest in music have on you?
Was it a happy upbringing then?
Were you able to communicate this to your mother?
Yes, but that only made it worse. When she found out, she became jealous and blamed me for it.
From then on, she just wanted to get rid of me. Eventually I was shipped off to a boarding school when I was 14.
Was it good to get out of the unhealthy home environment?
Did you go and live with your father in Woodstock?
That was a particularly dangerous time to live on the streets in Manhattan. How did you survive?
How did you get involved in the adult film industry?
You appeared in a number of films over the next few films. How did they come about?
I met people like Jamie Gillis and Marc Stevens on that first set, and they would call me up and tell me about film productions that were looking for actors. It was a strange little community, everyone was friends, and it was a close knit bunch of people.
I got on well with them all, even though they were mostly quite a bit older than me. People like Georgina Spelvin were in their late 30s, I think. I was underage when I made most of the films.
Were you close to anyone in the industry?
Andrea True was good to me as well. We became close friends. And Helen Madigan too. She was great.
Did you like appearing in films?
What was your life like in New York at that time?
Was it a smooth production?
I had to have sex with a life-sized statue, which was difficult because I had to balance myself on top of it so that it could penetrate me. It took a long time to film and I got pretty tired.
I suffered for years because of that. It caused a number of repercussions on my health.
How did this resolve itself?
Do you remember how long the shoot was?
They realized it was a little movie but needless to say, they scratched the negative at the lab to get back at us. So the insurance had to pay, and we had to re-shoot it.
The guy who did it was Rupert Holmes who became very famous later on. After he did my films he went on to work with Barbara Streisand.
How did you meet him?
The people I knew from the art scene were always flirting with the idea of doing films but it was very hard to do. When I decided to make a film, people that I knew from that world came forward and recommended people from theater, music, whatever. These people just thought it was a cool thing to do.
Through his connections, we got booked into a recording studio on 57th St. I think it was called Studio One. It was a huge studio.
Can you remember much about the recording sessions?
And then Rupert went on to work for Barbra Streisand?
Someone heard that song from Rainbow, and the Barbra Streisand people called him.
Was Chelly Wilson interested in distributing the film?
How much did she offer?
She made an offer of $250,000 which was mind-boggling to us. I immediately started computing how many movies I could make with that money.
We decided to celebrate, so we went to the Jersey Shore as Paul had a house there.
What did you do?
First we called Chelly because she was supposed to be the distributor of it.
We always wondered if she had something to do with it.
We tracked the distribution end, and we had a lot of unpleasant meetings with distributors.
So who ended up being the distributors?
One Sunday I get a call from my friend Peter, the producer.
They basically took it over from then on.
How did you come to meet them?
Can you remember who you met with?
The older Peraino, Tony I think was his name. He was in Italy most of the time. He was a proper elder.
His younger brother, Joe, the guy who ran the business, the father of the guy who came to Hollywood, he was a pig. He was a fat pig who was straight of central casting.
Were you afraid of these guys?
I was not, but I must say my friend Peter was very nervous. I actually enjoyed meeting them.
Were you happy with how the movie turned out?
I was happy with the movie for what it was. The fact that we did the movie from beginning to the end, it came out as something that I could stand by.
However I must say I have never taken the picture and shown it around, but a lot of people saw it.
Gilbert Stone was an artist whose work is still exhibited around the world, and was purchased for many public and private collections, including the Joseph H. Hirshhorn Collection at the Smithsonian Institution, and the Brooklyn Museum. His illustrations appeared in publications such as Esquire, Sports Illustrated, New York Magazine, Playboy, National Geographic, and on many album covers before his death from AIDS in 1984.
How was the film marketed?
Wet Rainbow
Did you have any sort of premiere opening for it?
What was the critical reception like?
I thought it was pretty good. Andrew Sarris wrote about it, and it was well-received for what it was. Because it played in the legitimate houses as well, it brought an audience that would not go to the 9th Ave or 42nd Street theaters. It got an interesting response.
I actually have the Golden Tonguey itself. We still joke about it.
I did, and the guy gave it a review; he gave it a great review actually.
Who did you get to appear in it?
I hired people that were good actors and had good faces.
But it was still going to be an explicit film?
It was explicit, not as explicit as what my partners wanted, but it was still explicit.
It was great fun to make because I shot it myself.
Was it released?
Was it ever properly distributed?
Did you contact the Italians?
It was all this big talk, talk, talk, and then they sent us a little check.
Do you have a copy of it?
I have a 35-million reprint of it. I always wanted to remake it as a legitimate film and political satire because I always loved the idea of Vladimir Ilyich Lenin not getting laid.
Valerie blamed us for it I guess.
So what effect did the experiences of making the two adult films have on your career?
Unfortunately I got involved with writing, which I hate, in Los Angeles.
Yes, sure. Jamie took me to see it at a cinema in the Village. He liked it.
What did you think of it?
In an interview with The Rialto Report, Jamie Gillis was asked about Valerie Marron, and he had the following to say:
How do you remember the time making films?
What did you do after you stopped making films?
I started making music. I wrote and sung my own songs, and I had encouragement from musicians I knew, so I started doing that.
Then I started dating Felix Pappalardi.
Felix Pappalardi was a renowned American music producer, songwriter, vocalist, and bass guitarist.
How did you meet Felix?
He was a friend of my father. He played at the Joyous Lake a bunch of times.
What was your relationship like?
By the time we met, he was heavily into drugs so we did a lot of that together. He gave me advice on my music and we spent a lot of time together.
But you knew he was married?
What was Felix like?
He was a strange guy in some ways, not super friendly. He developed deafness because of all the loud music, so he was doing less of that when I was with him. He just liked taking drugs, having sex, and hanging out.
Transcript of a 911 call. April 17th, 1983
Operator: How did you do it?
Pappalardi, 41, was pronounced dead at the scene. A .38-caliber two-shot derringer was lying nearby, police said.
Mrs. Pappalardi was charged with second-degree murder and criminal possession of a weapon, police said. She later was admitted to Belleview Hospital after complaining of severe head pains.
Neighbors said the couple had quarreled just before the shooting. They reportedly had a history of arguing.
The murder of Felix Pappalardi caught the imagination of the press in New York, and it was splashed all over the newspapers and nightly news. Was it a crime of passion committed by a jealous wife? Or was it just a tragic accident?
The prosecution insisted it was murder.
The framed wedding certificate that had hung over the bed of Gail Pappalardi and her slain rock star husband, Felix, was found ripped to pieces. Mrs. Pappalardi swore that the destruction of the wedding certificate was another accident. She said Pappalardi tore it when he was clearing a desk of old papers.
Trial testimony from Gail Collins Pappalardi
Did the police contact you about the case?
Yes. I told them that Felix must have told Gail he was going to leave her because he was in love with me. She killed him in a jealous rage because we had plans to get married.
I was also contacted by the newspapers. They interviewed me.
It is one of the last enduring relics of a hectic 11-month love affair, she told The Post last night.
What was the effect of your testimony?
Instead I was dismissed and ignored.
Miss Merians, who was slated to appear as a prosecution witness but was never called, was branded a pest, hanger-on, groupie sicko and flake in trial testimony.
What was the outcome of the trial?
Grace Walters (juror, speaking to the New York Post)
We were very impressed with her. We did believe her story. We felt there was no intent; she did not want him to die.
Do you know what happened to Gail after that?
Gail Collins, a lyricist for the bands Cream and Mountain who gained infamy in New York in 1983 when she shot and killed her rock star husband, Felix Pappalardi, has died in the Mexican village where she lived as a recluse, the Daily News has learned.
Friends said Collins, 72, had been undergoing experimental cancer treatments in Ajijic, an expat resort town south of Guadalajara.
What was the lasting effect of the trial on you?
I was devastated. He was the love of my life. I had problems with drugs and depression after that.
How have you been since then?
What do you do nowadays?
I tried contacting the producer years later but I never received a reply.
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