L.A. Plays Itself / 1970s
Fred Halsted’s 1972 film L.A. Plays Itself was designed as an assault on the boundaries between pornography, underground cinema, and personal confession. It opens with the Los Angeles city-limit sign and the city’s population, then moves through Malibu mists, bulldozers threatening the wilderness, Griffith Park cruising grounds, hustlers, vagrants, porn theaters, newspaper clippings, and images associated with the Manson murders. Its central sequence depicts an older man binding, beating, and sexually humiliating a young hustler; Joseph Yanoska, Halsted’s lover and regular collaborator, refused to undergo the film’s climactic fisting, so a double was used. Halsted claimed the film was highly autobiographical and intended to force sadomasochistic sexuality into public view rather than leave it hidden or sanitized.
The result was both a sensation and a provocation. Fernando Arrabal, William S. Burroughs, and Al Goldstein praised it, while many gay viewers and mainstream critics considered it incomprehensible or offensive. Its rough, nontraditional construction was deliberate: cinematographer Tom later said there was no conventional screenplay and that Halsted assembled seemingly random footage into a sequence. Despite its explicit content, the film eventually entered the Museum of Modern Art’s permanent collection, where it was screened to a capacity audience in 1974; MoMA restored it in 2020. Its notoriety also led Burroughs and Terry Southern to discuss adapting The Wild Boys with Halsted as hardcore pornography, although the proposed collaboration collapsed as financially impractical.
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