Tag Archives: David McGillivray

Corduroy LPs, a gay film & the luvvie… Who? – We dare not speak his name…

The energetic and saintly David McGillivray.

Cough, cough. I have a cough. I am now on antibiotics.

But, earlier in the week, I went to yet another launch by film producer, critic and cult movie aficionado David McGillivray.

Last week, he was launching a twice-the-original-length re-publication of his book Doing Rude Things – The History of the British Sex Film.

I blogged about it.

This week, he was back in the same upstairs rooms of a North Soho/Fitzrovia pub in London, launching the soundtrack of his controversial gay porn film Trouser Bar –  “It’s the sexy package you’ll want to fondle. A green vinyl LP lovingly wrapped in haute couture corduroy complete with lavishly illustrated insert, Paisley hankie, badge and (director) Peter de Rome‘s visiting card.”

I blogged about the film in October 2015, when it was being touted as hard-core, and in March 2016 when it was not – just well-promoted – and was first screened.

Among those appearing in cameos in Trouser Bar are Julian Clary, Barry Cryer and Nigel Havers.

This week, as last week, David McGillivray gave a speech to the assembled, definitively eclectic, audience. He said:


Composer Stephen Thrower (left) with David McGillivray and the corduroyed soundtrack LPs. (Photograph by Alex Main)

My only purpose in being here is to lament the fact that two people who should be here can’t be here.

One is the alleged writer of the screenplay.

(LOUD LAUGHTER FROM THE AUDIENCE) 

I appreciate that response. Obviously, there’s probably nobody in this room who doesn’t know who I am referring to, but I still can’t say his name. Isn’t that marvellous?

The other person is the man for whom the alleged writer wrote the screenplay – the great erotic pioneer Peter de Rome.

How both these men would have loved both Trouser Bar and Stephen Thrower’s musical score!

Over the past year, it has been my enormous pleasure to tell the story of this collaboration throughout the world. Next week, I will be telling the story yet again in Buenos Aires – How exciting is that?

The story starts a long time ago, in 1976, when the alleged writer of the screenplay was appearing in a play on Broadway in New York. The alleged writer was a huge fan of pornography and he wrote in a letter to his friend that, while on tour with the play, he had seen in Washington the film in which Linda Lovelace was fucked by a dog. Those are his actual words.

Now, he did not say whether he liked that film but he did say, in a letter which I’ve seen, how much he admired the work of Peter De Rome.

And that is why, one day in his hotel in New York, the alleged writer wrote the screenplay of Trouser Bar. And that is his title, as well.

(Left-Right) David McGillivray, Ethan Reid and Peter de Rome

I worked on three films with Peter De Rome.

During the production of the first, he presented me with this screenplay which had been written for him in 1976. It was still in the envelope from the hotel.

Astounded is not a strong-enough word as far as I am concerned.

For the rest of Peter’s life, I tried to get him out of retirement to make this film. But, alas, he was absolutely adamant. He was fed-up with filming. He found it tiresome.

I failed.

So, when Peter died in 2014, there was nothing else for it – I had to make it for him.

I honestly assumed that, when I contacted the John Gielgud Charitable Trust – and, due to the vagaries of English law, I CAN refer to that organisation – I honestly thought they would be delighted that we were making a film based on the only known screenplay written by the alleged writer.

David McGillivray & Nigel Havers at the Trouser Bar location.

How wrong I was!

They were furious and litigation proceeded over a period of three years.

When they found out that we were due to start production – now, this is something I have never ever told the people involved in the production of the film until tonight – they threatened to sue me AND everybody involved.

Well, it was like a red rag to a bull. 

We went into production the following week.

I assumed that the film would never be released and I was quite happy to leave it on a shelf until every member of the Trust was dead. But the reason we are here tonight is because of two very important people, one of whom IS here.

Brian Robinson of the BFI during the shoot.

He is Brian Robinson of the British Film Institute who suggested that we could release the film without a screenplay credit.

The other person is my indefatigable solicitor, who isn’t here.

That is the reason the film premiered at the BFI, Southbank.

After the premiere, more than one person came to me and said: You must release the music on an LP, preferably corduroy-clad.

I said: It’s not going to happen, because how can it?

Well, I reckoned without the composer Stephen Thrower.

Because of his skill and determination, here is the record.


You can currently hear samples from the soundtrack online.

David McGillivray is, as ever, energetically promoting it…

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Why would you re-issue a 25 year old book about dodgy soft-core porn films?

David McGillivray first turned up in this blog in 2013 feted for his highly-admired work on cult sex films, horror movies and scripts for Julian Clary pantos etc.

At the time, he said: “My films are not art. They’re just product designed to give people a bit of a thrill in whatever way is possible.”

He turned up here again in 2016, talking about his gay porn film Trouser Bar, which featured cameos by Julian Clary, Barry Cryer, Nigel Havers et al in a script that was definitely not written by Sir John Gielgud. Oh no. Not at all. Wipe the very hint of that idea from your soiled mind.

David McGillivray talks to the throng (Photo: Yak El Droubie)

Now he is back here again, in two crowded-to-overflowing upstairs rooms of a pub in NoHo or Fitzrovia or whatever you want to call it in London…

…launching a reprint and update – the new edition is twice the length of the original – of Doing Rude Things – The History of the British Sex Film, his book on dodgy and, frankly, not always 100% well-made soft-core porn films.

Why?

Well, this is what he explained to the assembled throng of well-dressed and (mostly) respectable-looking fans of dodgy British soft-core sex films in the room above the pub:


Doing Rude Things could define David’s career

When I was about 10 or 11, I found my father’s ‘glamour magazines’ in the bottom of his wardrobe.

When I say ‘glamour magazines’ you all know what they were – and they were called ‘art studies’ in those days. I was intrigued by them.

I thought: I’m obviously not meant to see these. He obviously hid them so that I wouldn’t. And so I became intrigued.

I reckon that discovery dictated the rest of my life and certainly my career.

Who could have thought that, in 1992, Pamela Green who, of course, featured prominently in all the magazines, would write the foreword to my book Doing Rude Things?

Pamela Green in Peeping Tom, the now critically-lauded film which destroyed director Michael Powell’s career in the UK

And then, another 25 years on, here we are in the Blue Posts pub, just a stone’s throw from Newman Passage, the main (opening) location of Peeping Tom which, of course, Pam starred in.

When the book first came out in 1992, I think most of the films I talked about had been forgotten. And I also think that the reason today we know films with titles like Secrets of a Door-to-Door Salesman and The Ups and Downs of a Handyman is basically because of me.

This might not really be the case!

But please humour me – I’m 70 years old and I deserve it!

The films had been forgotten but subsequently, after the book went out of print, they were kind of re-discovered and suddenly there was a film of the book and the films turned up on television for the first time, were issued on video for the first time – and I like to take credit for that.

The 1992 edition of Doing Rude Things

By the time the book had come out in 1992, I had already been working in soft porn for about 20 years – I had written porn films and I had written a lot of reviews of the films, because nobody else wanted to see these films.

As a result, I wrote a series of articles for a magazine called Cinema, which became the basis of the book Doing Rude Things.

After that went out of print, several people came to me and said: Why don’t you re-issue it? And I said No to basically everyone.

My feeling was that I couldn’t think of an audience for a re-print of the same book.

But, 25 years down the line, a publisher came to me with a new proposal for an updated edition and, by that time, life had changed.

Back in 1992, the internet DID exist, but nobody was using it.

By 2016, when I started working on this book, there was an entire community online – young and old – all sharing notes about these TERRIBLE films. Suddenly, there was a new audience for this genre.

So that is why the book has come out again.


There is a video online of David talking about his film Trouser Bar

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The golden age of exotic dancers remembered in a new documentary

The legendary Judith Stein

The legendary Judith Stein in the Golden Age

Two weekends ago, I came down with a very nasty flu.

When I eventually got better, I opened an email from this blog’s occasional Canadian correspondent Anna Smith. She was raving in glowing terms about a documentary she had seen called League of Exotique Dancers.

It was a documentary about burlesque dancers in what is described as ‘the Golden Age’.

“The film,” Anna told me, “includes much never-before-seen footage of exotic dancers (much of it from a private collection of over 300 rare early black and white films of exotic dancers), photos from the private collections of the dancers themselves and interviews with the dancers today.

“And Kitten Natividad is in the movie!!!” she added. “She is hilarious! AND Russ Meyer!”

“Ah,” I replied. “The beloved Russ…”

“Russ, Russ…” agreed Anna. “Very funny indeed. He is wearing a snazzy jacket. Maybe it could inspire David McGillivray to make a jacket film. I wasn’t cultured enough to appreciate Russ Meyer movies when I was young. I preferred porn films with exotic locales and bad translations.”

Anna is not someone without knowledge of the world of exotic dancing. She told me:

“When Beneath The Valley of The Ultravixens (starring Kitten) was released, I was dancing at The Metro Cinema in Toronto. We did shows between the films. It was a vast, echoey, run-down place, but the owner was a nice foreign man who paid us really well.

“He hired me to do voice recordings on the answering machine to announce the coming attractions. I would make up exciting announcements: Chesty Morgan has just arrived from New York and will be here until Friday, four shows a day, starting at noon! Next week, Nurse Annie is flying in from Argentina to attend to your needs….

Anna as her alter ego ‘Nurse Annie'

Anna’s alter ego ‘Nurse Annie’ caused problems

“That one didn’t work out so well because a reporter from the local Spanish paper showed up wanting to interview Nurse Annie (who was me).

“The cashier was an old lady who was practically blind and often she would accidentally let small groups of twelve year old boys into the cinema. I would get out on stage and the twelve year olds would be sitting in the front row like idiots and I would storm off the stage and call the projectionist on the intercom to get them out of there.

“The League of Exotique Dancers also depicts how the dancers coped with the dramatic industry changes over the years, the hardships they overcame and then how they reacted when they were asked to return to the stage… after absences of thirty years!

“It also showed how we used to dance to live bands. And there were comedians too ! And funny strippers…

Camille in 2000 from the League of Exotique Dancers

Camille 2000 from the League of Exotique Dancers

“I was laughing through most of the movie, and crying… The film was BRILLIANT… Plus I was at a writers’ workshop for hookers all afternoon…There were eleven of us…

“On opening night in Vancouver, 66 year old Judith Stein performed a comic striptease before the movie started…

“After seeing the film (and making myself known to all in the following Q&A session) I went out with a group of directors and editors including Exotique‘s amazingly intelligent (some might say wily) young female director Rama Rau,  producer Ed Barreveld and Judith Stein.

Judith Stein (left) with Anna Smith at the documentary's Vancouver premiere

Judith Stein (left) with Anna Smith at the documentary’s Vancouver premiere

“When I asked Judith how to get into The Burlesque Hall of Fame show in Las Vegas, she asked me how old I was. I told her my age and she said: “You’re too young. You’re not allowed in until you’re sixty.“

“Don’t quote me on this, unless you can’t help it, but I have never seen a contemporary burlesque stripper move as well as the older ex-professional ones, (such as myself haha). One of the dancers in the movie noted that although she admires the efforts of contemporary burlesque dancers the fact is that, for most of them it is a hobby rather than a profession. She also admired the working strippers of today, lap dancers and pole dancers who make a lot of money and see glamorous, travel, etc. She said they work really hard for it though..

“When I see contemporary burlesque I find it usually looks a bit too contrived. Obviously, when we did the shows six and seven days a week for years on end, that experience became part of our stage presence and we became good at adapting and improvising according to the club and audience.

Anna Smith lives a quiet life near Vancouver

Anna Smith lives quietly in Canada

“Since I didn’t know anyone, but had been kindly invited along by Ed and Judith, I didn’t speak much, but sat there fascinated, listening to their astonishing and articulate discussion about film making,

Editors are fuckers…they have to be… etc.

“Somehow, toward the end of the night, I found myself hearing two men (I have no idea who they were) talking very seriously about Mr Methane.

Mr Methane?” I cried out. “I know Mr Methane!

“The two men looked at me with surprise. One of them was Irish and he said in disbelief:

You know Mr. Methane?

Well,” I said. “I mean I know who he IS… We appear in the same blog, sometimes even on the same page… Sometimes it is a bit embarrassing.

Mr Methane

Mr Methane – not a known exotic dancer

“I asked the Irishman who had shown an interest: “How do you know Mr Methane?

Oh,” he told me, a bit exhaustedly, “I have been trying to make a film about him for years… about eight years… What blog?

John Fleming’s blog,” I said.

“The man scrambled for a pen. After all, he was Irish.

Just look for TheJohnFleming,” I said.

Is he on Facebook?

He is on Facebook. He is on Twitter. He is on everything.

“I promise to Skype you when I get a phone again. I keep hoping my old (lost) phone will appear and been trying to revive several old ones without success.

“My sister on Vancouver Island has a WordPress blog about dolls… “

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Now screening: a gay porn film with no script not written by Sir John Gielgud

Producer David McGillivray at Soho Theatre yesterday

Producer David McGillivray met me at Soho Theatre yesterday

“So what we are talking about here,” I said to David McGillivray in the Soho Theatre Bar yesterday afternoon, “is a script that you filmed – a sleazy, gay, hardcore porn film and you have conned some very respectable performers like Nigel Havers and Barry Cryer and Julian Clary into appearing in this filth.”

“Yes,” said David McGillivray. “Mea culpa. Up until very recently, I did maintain that this was a gay, hardcore porn film and it got us a lot of publicity, for which I’m very grateful. I have subsequently admitted that it could now be passed with a U certificate.”

“Was that always the case?” I asked. “Or have you edited it?”

“The script that I saw ,” replied David, “did not have any indication that the author wanted unsimulated sex in it and therefore we didn’t have any. The possibility is that, when the unknown author saw Peter de Rome’s films, a lot of them would also have been soft core. So this is the kind of film we think that the unknown author would have wanted to be made.”

“And can you confirm,” I asked, “that the unknown author was Sir John Gielgud?”

“Of course I can’t,” replied David. “The author is unknown.”

“Can you confirm,” I asked, “that the author was NOT Sir John Gielgud?”.

“I can’t,” said David. “No. I have to accede to the Trust’s demands not only that Sir John Gielgud, for example, did not write the script but also that the script in all likelihood does not exist.”

David and I talked about the film for a blog last October headlined:

BEING EDITED NOW – SIR JOHN GIELGUD’S GAY PORN FILM WHICH YOU MAY NEVER SEE.

Trouser Bar

Faithfully filmed word-for-word from a non-existent script

“People are perfectly at liberty,” David McGillivray said yesterday, “to conjecture who the author may be, but I couldn’t possibly comment.”

“As I understand it,” I said, “last year the John Gielgud Trust were saying that the script they saw was one you could not legally film because they owned copyright on it. But now they are saying that the script they saw did not exist.”

“We are getting,” said David, “into the realms of Alice in Wonderland because, when we spoke last for your blog, I assumed that the film would never be shown, because the Trust had accused me of infringing their copyright.”

“And,” I checked, “at that point, they had seen the script.”

“They saw the script in 2012,” said David.

“This is the script that they say doesn’t exist?” I asked.

“Yes. And I can prove that they saw it, because it’s all in writing. But then, after you and I spoke last year, there was a most extraordinary volte-face. After a considerable silence and having seen the film, the Trust maintained that Sir John did not write the script and that it did not exist.

“My lawyer wrote back and immediately conceded everything and told them that the film would be released unattributed. We re-edited it – we put a caption on the front, we removed all references to the author who was previously alleged to have written the script and…”

“What does the new caption at the front say?” I asked.

“It says that this film is being distributed on the condition that its screenplay is unattributed. It is now credited to ‘a gentleman’… and that is the version that will be screened in London this Sunday at NFT1 if we do not get an injunction served on us.”

“You feel,” I asked, “that you might get an injunction for illegally making a film from a script that does not exist?”

“Anything is possible, John. Every time I switch on my computer I expect another surprise.”

“Why have you not credited the script to Alan Smithee?” I asked.

“It’s probably a copyright name, isn’t it?” asked David. “There were lots of possibilities of who this film could be credited to.”

“The Sunday screening,” I asked, “is during a gay film festival at the NFT?”

Trouser Bar

Trouser Bar – gay porn – coming soon

“Yes. And I want you to be the first to say that it is so appropriate that a film called Trouser Bar is playing at a festival called Flare. We will also be screening one of (director) Peter de Rome’s shorts – one of his most beautiful, called Encounters –  and we will be showing an extract from a film I made about Peter in which he talks about the script that doesn’t exist. The film will then go on tour in the UK in the Spring and I have just had a request from San Francisco. Ultimately, it will come out on DVD.”

“Will some of the cast be at the screening on Sunday?” I asked.

“Barry Cryer has said he will come.”

“Steady,” I said. “Steady.”

“I am very grateful to the Trust,” said David. “Although they have caused me so much stress, if it had not been for them, I would have been faced with trying to sell a soft core sex film written by somebody today’s audience has never heard of. But, thanks to the Trust, thousands of people now know who the alleged author is and they want to see the film. It is what is known as the Streisand Effect.

“If the Trust had done what I wanted, which was to support me, I would have paid a substantial amount for the rights and there would have been no controversy. Now it is a scandal and I think I have been very lucky.”

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Dr Human, the exotic dancer & the nuns

Anna Smith hospital 2013 - CUT!

A couple of days ago, I got an e-mail from this blog’s occasional Canadian correspondent Anna Smith. She lives in Vancouver. The e-mail read:

Oooohhhh… being injected with radioactive metal makes me feel all warm and tingly inside… but so very sleepy. I don’t recommend it… I think acid is probably better for you but I did get a little buzz.

I asked her what on earth she was going on about.

Yesterday, she answered:

I was in the hospital for tests and scanning, as a follow up to my heart surgery, as it is still a mystery why my aorta ripped. The are looking for genetic markers.

I had to fill out lengthy questionnaires at the Aortopathies Clinic. They asked strange, inappropriate questions like whether I had children and how old they were when they died.

A photograph by but not of Anna Smith

Photo by – not of – Anna

On the next form, they asked if I am planning on starting a family so, on the line where I was supposed to write the answer, I wrote: “You must be joking.”

The doctor was laughing by the time he saw me.

When I saw they were going to scan my head I thought: Wait a minute! Isn’t that taking things too far? I know it’s a university hospital, but it’s my heart not my brain that has the problem. I didn’t want to get injected with metal flakes for nothing. They’re not supposed to do that unless it’s necessary.

But my doctor – Dr Derek Human – told me sometimes there can be concurrent artery weakness in the heart and the brain, so they wanted to make sure nothing was going on in my brain. Those might not have been his exact words.

I had so many tests over the last two days that they had to give me a schedule and a map for it all.

Dr Human’s conclusion is that I am perfectly fine and there will be no problem if I want to indulge in activities such as unloading lorries or performing striptease for dykes.

Anna used to be an exotic dancer. Sometimes, on special occasions, she still is. With her message, she attached a link to a YouTube video:

She continued:

This is relevant. I used to have sparkly jeans and the stages in Soho, London, were the size of those cubes they are dancing on.

Anna Smith cutting

Memories of ‘Nurse Annie’

I found this article an hour ago from the Ottawa Citizen in 1980. It is a review of the movie The Tin Drum.

In passing, it promotes me as ‘Nurse Annie’ with ‘The Hottest Operation in Town’. At the time, I was topping the bill at The Zanzibar Circus Tavern in Toronto. I had forgotten till today that I was mentioned in a review of The Tin Drum, along with the films Midnight Desires and The Waitress

The latter two movies were filmed in ‘Eroticolor’,  a process I had also forgotten till just now. I guess David McGillivray must know all about it.

I probably saw it, without realizing what it was, in Belgium.

The Zanzibar in Toronto

The Zanzibar Circus Tavern in Toronto

At the hospital this week, I ran into my hairdresser. Unfortunately he didn’t have his scissors with him. 

I had a couple of hours to wait till my next invasive procedure, so I walked around and waited while he had his blood drawn and he explained to me where all the secret pharmacies and drinking water dispensers were.   

The hospital is owned by some extraordinarily wealthy nuns. I believe they came here to Canada from France hundreds of years ago and the first time they tried to get here they ended up in Chile by accident.

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Missing blogs, John Gielgud’s gay porn, James Bond’s toilet and Tony Hancock

John fleming - shocked look

Typical reaction to WordPress’ efficiency

My daily blog has not appeared for a couple of days because WordPress, which hosts it, had some technical problem which meant it was impossible for me to save or post anything. And, even if you pay them, they do not provide Support – you have to post on user forums with no guarantee of any response from anyone.

Giving them grief on Twitter seemed to have some slight effect – eventually. To a partial extent. I got this message:

Let us know if we can help with anything! Here’s how to export your content and take it with you.

I replied:

It might have been useful if WordPress could have sorted out the technical problem which means I cannot post any blogs. I might have thought WordPress would be more concerned with their software not working rather than helping people to leave.

After WordPress getting more Twitter and Reddit grief orchestrated by this blog’s South Coast correspondent, Sandra Smith, I got some reaction from a WordPress ‘staff’ member (whom you apparently can’t contact normally) – which was minimal and apparently transient, as I have heard no more from him.

But, about three hours later, when I tried again, the problem had disappeared. I had changed and done nothing. So I can only assume WordPress corrected the fault and never bothered to tell me.

As Facebook Friend Alias Robert Cummins succinctly put it: WordPress is amazingly shit, in all sorts of tiresome and complex ways, which I’d really rather not go into this late in the evening.

That is his real name, by the way – the one he was given at birth – Alias Robert Cummins. It is a bizarre story and one probably worth a blog at some point.

Anyway, the problem was eventually solved (I hope it has been, anyway) with the help not just of Sandra Smith but also the excellent cyber-guy and indefatigable Malcolm Hardee Comedy Awards Show person Stephen O’Donnell.

John Ward toilet accessory with gun, silencer and loo roll

John Ward’s toilet accessory has a gun, silencer and loo roll

In the two days of missing blogs and navel-gazing, the world still turned, with John Ward, designer of the increasingly prestigious Malcolm Hardee Comedy Awards getting some publicity in Lincolnshire of all places because today the James Bond film SPECTRE is released and, a couple of years ago, John designed a combined gun-rack and toilet paper holder.

He used to own a gun licence himself: something that never made me sleep easy in bed.

When no new blogs were being posted the last couple of days, the old one getting most hits was last Wednesday’s blog, about David McGillivray’s new short film of a previously un-produced gay porn script Trouser Bar written in 1976 by Sir John Gielgud.

David Mcgillivray (left) during the filming with Nigel Havers

David McGillivray (left) during the filming with Nigel Havers

The film (still in post-production) includes performances by Julian Clary, Barry Cryer and Nigel Havers. One blog reader user-named ‘Ludoicah’ commented:

I’d say with a cast that includes Nigel Havers and Barry Cryer that there is zero chance of this being any sort of a porn film, gay or otherwise, and it is probably, at most, a mildly risqué sketch.

To which David McGillivray replied:

Incorrect. It’s utter filth, liable to deprave and corrupt. I was blindfolded while I was producing it.

Sir John Gielgud’s script was inspired, it seems, by his love of men in tight trousers, particularly trousers made from corduroy.

Last Thursday, the day after my blog on the film appeared, the following was posted (with photo) on Trouser Bar’s Facebook page:

Trouser Bar still - corduroy trousers

Trouser Bar still – corduroy trousers un-creamed by Sir John

I’ve just seen the rough cut. Sir John would have creamed his corduroy jeans at this close-up.

It also quoted Sir John’s letter to Paul Anstee of 19th October, 1958:

“The students at the schools and universities [in Pennsylvania] are a wonderful audience, and a good deal of needle cord manch is worn (very badly cut, and usually only partly zipped!) so my eyes occasionally wander.”

Also posted on the Trouser Bar Facebook page was this quote from a Galton and Simpson comedy script for Hancock’s Half Hour in 1958:

Sid: “Hilary St Clair.” 

Tony: “Hilary St Clair? I bet he’s all corduroys and blow waves”

with the comment:

Even in the 1950s it seems that corduroy was associated with homosexuality.

All this, plus a photo on my blog of Sir John Gielgud with Sir Ralph Richardson in Harold Pinter’s No Man’s Land, made Anna Smith – this blog’s occasional Canadian correspondent – ask::

I wonder what kind of porn Ralph Richardson wrote?

and to mention:

Tony Hancock. Is this the face of a 1950s criminal?

Comedian Tony Hancock – Is this the face of a 1950s criminal?

I bought a Tony Hancock album last week at a junk shop. A woman wondered to me whether he was a criminal.

“He wasn’t a criminal,” I said, a bit annoyed. ”He was a comedian!”

“He looks like a criminal,” the woman countered, doubting my certainty.

“It was the 1950s,” I said, exasperated. “Everyone looked like a criminal back then.”

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Being edited now – Sir John Gielgud’s gay porn film which you may never see

(L-R) David McGillivray, Ethan Reid and Peter de Rome

(Left-Right) David McGillivray, Ethan Reid and Peter de Rome

“So I guess it starts with Peter de Rome,” I said to film producer David McGillivray at the Soho Theatre Bar in London yesterday afternoon.

“Well,” said David, “I met Peter in 2007 and eventually we made three films together, the last of which – Peter de Rome: Grandfather of Gay Porn – is still going round the world. I’m introducing it in Berlin in a few hours time.”

“How did this lead to Trouser Bar?”

“Peter was a great one for pulling things…”

“Down?” I suggested.

“… out of the bag, that I never knew,” said David. “On one occasion, while we were filming him, he happened to mention that Sir John Gielgud had written him a screenplay – and there it was, in his hand. I never quite worked out why the film had never been made. He wrote it in 1976.”

“This was a porn film?” I asked.

“Yes. Peter de Rome was a pornographic film maker and Gielgud was one of his big fans. He had a lot of celebrity fans, including David Hockney, Derek Jarman, William Burroughs. I also saw letters from Sir John in which he said: Oh, I so much enjoyed that film you showed last week. Please could you show it again.

John Gielgud (right) with Ralph Richardson in No Man’s Land

John Gielgud (right) with Ralph Richardson in No Man’s Land

“So, while he was in New York, appearing in Harold Pinter’s No Man’s Land on Broadway in 1976, John Gielgud wrote this film called Trouser Bar, which reflected his interests. Possibly until Gielgud’s Letters were published (in 2010), people didn’t know the extent of his clothes fetishism.”

“I read that he liked corduroy,” I said.

“That was his favourite fabric,” David agreed. “But he also liked velvet, flannel, leather, denim and it was inevitable that, if Sir John was going to write a script, it was going to be set in a menswear shop. And it was.”

“If he liked ALL those fabrics,” I suggested, “it was not so much a fetish about fabrics, more a general fetish on clothes.”

“No,” explained David, “he was very particular about the type of clothes he liked and how they were worn. The letters are full of his observations on men he had found attractive because they were wearing the right trousers.”

“You mean tight?” I asked.

“Tight, yes. But they had to be cut well. He was very particular about the pockets. Trouser Bar, I maintain, is a film of enormous historical interest. Nobody knew he had written it and, if Peter had not mentioned it to me, it could well have been destroyed because Peter died last June and we’re not sure what happened to all his papers. (He lived in New York and in Sandwich, Kent.)

Trouser Bar

“The budget increased. We had to buy all the vintage clothing.”

“We stuck to Sir John’s script very, very tightly when we made the film a couple of weeks ago. He was very specific about the clothes he wanted the actors to wear and, as a result of that, the budget increased enormously. We had to completely fit-out an empty shot as a men’s boutique circa 1976 and buy all the vintage clothing. Only time will tell if it was worth it.”

“How did you finance it?” I asked. “Did you just say Sir John Gielgud’s porn film and people just threw money at you?”

“No,” David told me. “I always finance my own films.”

“How much and how long?” I asked.

“£50,000 and it lasts… well, I don’t know precisely, because it’s being edited at the moment, but… about 15 minutes.”

“You didn’t direct it yourself?”

“No. I’m not a director. I haven’t got a clue. I hired a director.”

Kristen Bjorn…”

“Yes. It’s a made-up name. He said he was given that name when he worked in porn and it was inspired by the tennis player Björn Borg.”

David McGillivray

David McGillivray

“So Sir John Gielgud,” I said, “wrote Trouser Bar as a porn film…”

“Yes.”

“And it has been shot as a porn film…”

“Yes,”

“So it is not going to get a certificate…”

“It’s not going to get shown at all. The Gielgud Estate have come down heavily on me and it will never be shown in this country. They are claiming that they own the copyright on the script, though this is a grey area. I am convinced – and this is all conjecture – that they are determined this film will not be shown and they are using intellectual copyright as an excuse. That’s my opinion. The lawyer who represents the Estate won’t talk to me. The last letter I received was merely a threat: We will take appropriate action if this film goes ahead.”

“So the John Gielgud Estate is…” I started to say.

“It’s not the Estate,” said David, “It’s the Trust. I keep making this mistake. It’s the Trust that was set up in his name to give bursaries to drama students.”

“Who inherited the Estate?” I asked.

David McGillivray at Soho Theatre yesterday

David McGillivray spoke to me at the Soho Theatre yesterday

“Well, his partner was Martin Hensler who was originally on the Trust’s board before he died and I think the lawyer is an executor of the Will, so I think the Trust are his beneficiaries. I don’t know why they are behaving the way they are. I use the word They because the lawyer represents several actors who are all members of this Trust. He has said in an email: We own the copyright of this script.

“My head is on the block. I don’t know what’s going to happen next. I am advised they had no jurisdiction over the making of the film, but they can prevent the exhibition of the film in this country, so I’m now looking to premiere it in America, where the copyright laws are different.”

“So why,” I asked, “did you spend £50,000 of your own money on a film that can’t be shown in this country?”

“I didn’t know that at the time. But I think I would probably have still gone ahead, because it’s a labour of love for me. I’m doing it for Peter and also because Sir John wanted this film to be made. It was his private fantasy and he would have loved to see it come to life.”

“Who is in the film?”

“Nigel Havers, Julian Clary, Barry Cryer.”

“Am I going to enjoy it if I ever see it? I’m not gay.”

“I think so. I wanted an art film that would reflect Peter’s work. I think people will appreciate the way it looks.”

“When will it be finished editing?”

The climactic orgy scene in Trouser Bar

Climactic orgy scene in Trouser Bar – as scripted by Sir John

“I’m seeing the first cut next Monday. We are also thinking about making a documentary about the making of Trouser Bar and I hope that will get the publicity I want:  Here is a film made about a film that you can never see. Why is this?

“We can make a film about the film being made, but we can’t use John Gielgud’s name. I have been advised I can’t quote from his letters, I can’t show his screenplay. I think it’s even risky to use the title of the screenplay. But we can talk about the film. So that documentary is the film you will see in this country and I’m hoping that will happen next year.

“I am trying to interest the likes of Nicholas de Jongh to appear in the documentary to talk about Gielgud and his interests.”

De Jongh wrote Plague Over England, a 2008 play about Gielgud’s arrest for ‘lewd behaviour’ in 1953.

John Gielgud as Cassius in Julius Caesar (1953)

John Gielgud as Cassius in Julius Caesar (1953)

Gielgud was arrested, three months after being knighted by the Queen, for ‘persistently importuning male persons for immoral purposes’ in a Chelsea public lavatory.

“What I don’t understand,” I said to David McGillivray yesterday afternoon, “is that, if he was arrested for cottaging in 1953 and it was publicised in the papers then, why did he not just come out of the closet when homosexuality was made legal in 1967? He never admitted to being gay.”

“He was a Victorian gentleman,” explained David, “and – this is my conjecture – I think he felt it was not seemly to ’come out’.”

“But he had already been caught out lurking in toilets,” I said

“But he was ashamed of it,” said David. “Deeply embarrassed. It was something he wanted to forget about. It had caused him trouble. For five years he couldn’t work in America.”

“So,” I said, “he’s embarrassed about being caught cottaging in 1953 and doesn’t want to come out as homosexual after 1967, but then he writes not just any old script or a slightly gay script but a porn script in 1976.”

Sir John gielgud (Photograph by Allan Warren)

Sir John dressed well (Photo: Allan Warren)

“Well,” explained David, “it wouldn’t have had his name on it at the time. He was perhaps somewhat naive. He enjoyed Peter de Rome’s company and they used to go to gay bars together in New York – he was quite open in that respect… but Peter made a film called Kensington Gorey and John said Oh, I’ll do the voice-over – forgetting that he would be instantly recognised because he had one of the most identifiably voices in the world. He didn’t think that through and possibly he didn’t think it through when he wrote this script either.

“I think it’s important we know more about Gielgud the man as opposed to Gielgud, the world’s greatest Shakespearean actor. He was human like the rest of us. He had a jolly good time ogling men in trousers. He was writing constantly to his friends about the delight he took in seeing men in tight trousers. It wasn’t a secret then and I don’t think it should be a secret 40 years after he wrote the script.”

THERE IS A FOLLOW-UP TO THIS BLOG HERE

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