Deadly Blows

Short 'n' sweet, this brief 43-minute opus from mysterious director "Jai" nevertheless proves diverting - what it lacks in sexual heat, it makes up for in entertainment value.

Sleazy looking Eric (Vince Bruno, credited as "Duro Sudd") has just received a promotion at his law firm and decides to commission a portrait of himself. First seen jizzing all over a line of Saltines and feeding them to his (female) secretary, whom he holds beneath contempt, Eric is a real piece of work, carting around his toadyish valet Sidney (Mike Jordan / "Jeff Blacke") with him everywhere he goes. Where he's going today is the residence (i.e., anonymous LA one-bedroom apartment) of Robert (Ric Lutze / "Ric Starr"), an up-and-coming artist who lives there with his girlfriend, Claire.

Commissioning Robert to paint him, it's not long before the very-out Eric is making passes at the young artist, much to the chagrin of Robert's girlfriend. As cracks begin to form in Robert and Clarie's relationship, Eric moves closer in to Robert with each subsequent session - but what will he do with his prey once he's finally caught him?

Without spoiling the ending, I think I can reveal the conclusion to UP AND COMING is surprisingly melancholic - not entirely earned on an emotional level, but still a unique and haunting beat that only seemed viable in porn for a brief period in the heyday of '70s theatrical films (the movie would make a good double feature with the similarly misanthropic art-focused pic RAOUL'S MASTERPIECE). Despite its abbreviated runtime - often the hallmark of a really low-effort grinder - UP is surprisingly well produced, obviously shot quickly in a single location but with good cinematography and editing, the latter making excellent use of a number of purloined Rolling Stones tracks, among others.

Lutze, an oft-goofy mainstay of straight hardcore for two decades, is uncharacteristically moody and restrained here, and the protagonist's interest in him seems mirrored by the film, which achieves some genuinely striking compositions of the actor. While certainly not setting the screen on fire as the next crossover gay superstar (a la Rick/Jim Cassidy), Lutze nevertheless demonstrates an unusual charisma that helps carry the movie toward its somber conclusion. I still would've liked to see the story fleshed out more, but given the inherently low expectations invited by a 43-minute gay storefront film, UP AND COMING still vastly exceeds them, providing an engaging and enjoyable ride that, unlike so many of these movies, wisely leaves the audience - as well as its protagonist - wanting more.