Two Burglars Sodomized For Five Days Straight After Breaking Into The House Of Notorious Gay Rapist

Two burglars got more than they bargained for recently after picking the wrong house to break into. Garfield Morgan, 54, and his 36 year old accomplice friend Kim Gorton are both career burglars, having stolen from hundreds of homes in their lives. But it’s unlikely they’ll go back to crime after the nasty episode they experienced in the home of one Florida man…

Harry Harrington is 6’7″ and weighs over 300lbs. It’s pure muscle. He’s a notorious gay s*x predator who has served time in jail for numerous sexual assaults. An aggressive and predatory offender, he’s not the kind of man you want to annoy. But that’s just what Morgan and Gorton did that fateful night.

Harrington, known as ‘The Wolfman‘, easily overpowered the men, tied them up and assaulted them for five full days. Police only intervened after a neighbor heard the men’s cries for help and called them.

As you can see from their mug shots below, the men were extremely traumatized by their ordeal. What they went through is inexcusable, but many online commentators are saying that they deserved some kind of retribution for their crimes. Though we tend to think that a spell in prison is probably more fair. Five days of being raped by a man mountain is a bit much, isn’t it?

“They broke in my front door, so I broke in their back doors!” The Wolfman is said to told police on his arrest.

The men face burglary charges, while Harrington is looking at another stretch inside for his actions.

2 Burglars sodomized for 5 days after breaking into gay rapist house.

Two burglars got more than they bargained for recently after picking the wrong house to break into. Garfield Morgan, 54, and his 36 year old accomplice friend Kim Gorton are both career burglars, having stolen from hundreds of homes in their lives. But it’s unlikely they’ll go back to crime after the nasty episode they experienced in the home of one Florida man…

Harry Harrington is 6’7″ and weighs over 300lbs. It’s pure muscle. He’s a notorious gay sex predator who has served time in jail for numerous sexual assaults. An aggressive and predatory offender, he’s not the kind of man you want to annoy. But that’s just what Morgan and Gorton did that fateful night.

Harrington, known as ‘The Wolfman‘, easily overpowered the men, tied them up and assaulted them for five full days. Police only intervened after a neighbor heard the men’s cries for help and called them.

The men were extremely traumatized by their ordeal. What they went through is inexcusable, but many online commentators are saying that they deserved some kind of retribution for their crimes. Though we tend to think that a spell in prison is probably more fair. Five days of being raped by a man mountain is a bit much, isn’t it?

The men face burglary charges, while Harrington is looking at another stretch inside for his actions.

2 Burglars sodomized for 5 days after breaking into gay rapist house.

Sal Mineo, Murdered Forty Years Ago Today, Was Also Victim Of Entertainment Industry Homophobia

On the night of February 12, 1976, actor Sal Mineo returned home following a rehearsal for the play P.S. Your Cat Is Dead. After parking his car in the carport below his West Hollywood apartment, the 37-year-old actor was stabbed in the heart by a mugger who quickly fled the scene. Police pursued all kinds of leads but assumed the crime to be the result of some sort of “homosexual motivation.” Three years later, pizza deliveryman Lionel Ray Williams was convicted of the murder, in addition to a number of local robberies. Williams, who claimed he had no idea who the actor was at the time of the stabbing, had bragged about the murder and his wife later confirmed that on the night Mineo died, Williams had come home with blood on his shirt. He was paroled in the early 1990s.

Mineo made his initial mark in 1955’s Rebel Without a Cause, as Plato, a bullied teen, understandably lovestruck at the first sight of James Dean’s character. The role would earn him an Academy Award nomination as best supporting actor and establish him as a major heartthrob to teenagers of the era. The next year he appeared in a small role in another Dean film, Giant. He launched a briefly successful recording career, headlined several motion pictures that played up his status as a rebel icon, and would garner another Oscar nod for 1960’s epic Exodus. The transition to adult roles would ultimately prove to be challenging for Mineo, despite his being a perceptive actor. Rumors of Mineo’s sexual orientation (he was bisexual, although many presumed he was gay), as well as his strong identity as a teen idol, made it difficult for producers and casting directors to see him as an adult leading man.

Through the 1960s and early ’70s, Mineo occasionally landed small roles in studio films like The Longest Day and The Greatest Story Ever Told and costarred in the entertainingly-deranged cult film Who Killed Teddy Bear? opposite Elaine Stritch. He found consistent work performing guest spots on television series, such as The Patty Duke Show and Combat! In 1969, he directed and starred in the Los Angeles production of the queer-themed prison drama is now part of the Guggenheim Museum’s permanent collection. He remains the youngest actor to have achieved two Oscar nominations by the age of 22.

Sal Mineo, Murdered Forty Years Ago Today, Was Also Victim Of Entertainment Industry Homophobia

10 great French gay films

Traditionally France has been seen as one of the most liberal countries in the world, and it boasts an enviable record on gay rights, despite the occasional rantings from Brigitte Bardot. But has this homofriendly attitude translated to its cinema?

We’ve kept the list to films that are easily available to watch in the UK, but honourable mention should go to The Ostrich Has Two Eggs (1957), a dated farce that at least has a sympathetic gay son, albeit one who never appears on screen, and Les Amitiés particulières (1964), set in a boys’ boarding school. Les Nuits fauves (1992) is one of the finest films to deal with the AIDS crisis, while the best work of the recently deceased Patrice Chéreau (especially 1983’s L’Homme blessé) narrowly missed the cut.

Each of the recommendations included here is available to view in the UK.

Where are the lesbians? Good question, as French cinema is particularly strong on sapphic cinema. Alas, pioneering films such as Club de femmes (1936) and Olivia (1950) aren’t easily available in the UK, but hopefully a list will appear in the future.

 10 great French gay films

Funny Gay Maske

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Funny Gay Maske

Brian

You’ve got to remember that Hollywood is homophobic by nature. It was invented by sleazy heterosexual guys with the help of homosexual male enablers. The aim was to create a money-making scheme based on the courtship of women.

The reason why Hollywood generates money is because it plays to the perennial fantasy that the female viewer has of being swept off her feet by a man who will then reward her with cash, cars, wine and roses, not to mention a baby. Male homosexuality doesn’t fit into this picture.

Women find male homosexuality threatening. It threatens the aforementioned fantasy. Women might tolerate a segregated, small gay scene but they won’t tolerate male homosexual desire as a general emotion that exists in all men. Male homosexual desire is completely incompatible with a woman’s fantasy.

Un chant d’amour (1950)

French writer Jean Genet is one of the key figures of gay culture, whose novels (including Querelle of Brest), plays and essays have been championed by gay and straight readers alike. His only venture into film was never meant to be seen outside of a small clique of intellectuals, yet has since been restored and released on DVD. It’s a heady fantasy set in a men’s prison, where passion, longing and sexual desire infiltrate every cell. The cast consists of non-professionals Genet knew personally.

Its scenes of nudity and masturbation lead to numerous bans and cuts over the decades. Ironically, its most celebrated erotic sequences involves two clothed men who never touch, as one blows cigarettes smoke through the cell wall into the mouth of his neighbour. It had a major influence on later cinema depicting queer longing, notably Rainer Werner Fassbinder’s adaptation of Querelle (1982).

Orphée (1950)

Jean Cocteau is another major figure in LGBT history. While he was a renowned poet, artist and writer, his distinctive films are the most potent part of his legacy, particularly his gothic adaptation of the Beauty and the Beast fairytale, La Belle et la Bête (1946), and his lyrical modernisation of the Greek myth of Orpheus, set in contemporary Paris. While the romantic relationships are straight, the iconic imagery is unquestionably queer.

Cocteau casts his former lover Jean Marais as Orphée, who attracts the romantic interests of a woman in black, soon revealed to be Death. After she claims the life of his wife, he must brave the underworld to ensure her return. The camera’s lingering gaze over the handsome male actors, the theme of leaving a normal reality to transgress into a world beyond society’s norms, and, most famously, the leather-clad bikers who accompany death on her reaping missions, mark this out as a key queer work.

Les Demoiselles de Rochefort (1967)

File this one under ‘queer aesthetic’. In the most excessive of Jacques Demy’s films, he creates an infectiously cheery musical in which everyone has a ball. Catherine Deneuve and Françoise Dorléac are the damsels of the title, looking for love in the sunny seaside town of Rochefort. But will any of the attractive men on offer fall for their charms?

There’s nothing explicitly gay here, but any film that shoves George Chakiris into tight white trousers and decorates itself with lavish, lurid sets definitely has a queer eye. Its relentless good nature isn’t for Scrooges, but it’s a hard heart that can’t enjoy Gene Kelly’s surprise cameo, or the vision of Deneuve in elbow-length gloves, chain-smoking while removing a chicken from the oven (trust us, it’s amazing).

La Cage aux Folles (1978)

“Une comédie très gay” smirked the tagline for this box-office smash. This frantic farce, based on a play by Jean Poiret and remade as The Birdcage (1996) and a long-running musical, is the ne plus ultra of camp, and a clear inspiration on later drag comedies such as The Adventures of Priscilla, Queen of the Desert (1994). Renato, a nightclub owner, and Albin/Zaza, a flamboyant drag queen, play host to the former’s son, fiancée and her hugely conservative parents. The son wants Albin out of the picture for fear of offending his prospective in-laws, but Albin has other ideas.

It quickly became the most popular foreign-language film of all time at the American box office, and director Édouard Molinaro, the script and the marvellous costumes were all Oscar-nominated. Michel Serrault’s Zaza commands – and demands – the spotlight throughout, and the set pieces still fizz, notably the uproarious final soirée. Those seeking “straight-acting men, no time wasters” aren’t invited to this party. And they’re missing out.

Tenue de soirée (1986)

There’s something to offend everyone in Bertrand Blier’s riotous comedy. A long-suffering husband (Michel Blanc) and his vindictive wife (Miou-Miou) have a blazing row in a restaurant, when an oafish burglar (Gérard Depardieu) interrupts, hits the woman and becomes embroiled in their relationship, taking them on his stealing outings. He has seduction in mind but, to the growing horror of the husband, it’s he, rather than his wife, whom the burglar has in his sights. But persistence pays off, and political correctness is given another kicking.

Blier’s films often focus on two inadequate men uniting against women (Les ValseusesGet Out Your Handkerchiefs), and undertones of homosexuality have always lingered in the air. Here it’s made explicit, albeit in an occasionally homophobic context – the scenes where the husband is forced to don women’s clothing are particularly uncomfortable. Yet its gleeful offensiveness is catchy, and the energetic performances are top notch, particularly from Blanc, who won the best actor award at Cannes.

Une robe d’été (1996)

Before his acclaimed features (8 WomenPoticheIn the House), François Ozon was a celebrated short filmmaker whose distinctive work was the toast of film festivals worldwide. Une robe d’été is the most fun, a playful three-piece comedy set on a summer holiday by the beach. When Sébastien’s queeny performance to the song ‘Bang Bang’ irritates Luc, his boyfriend, to distraction, the latter heads to the beach for some gratuitous skinny dipping. There he encounters Lucia, and unexpected polysexual attraction enters the equation. But the summer dress of the title comes along to save the day.

Whereas Ozon’s later queer films were tinged with darker themes (Time to Leave), Une robe d’été is a magnum of fun champagne, where all are good at heart and everyone gets laid. The summer dress becomes an emblem of acceptance – butch or femme, masculin ou feminin, it’s a frothy lesson in sexual freedom and gender diversity.

Anatomy of Hell (2004)

Gay men hate and fear women, even more than straight men. At least, that’s the thesis of Anatomy of Hell, Catherine Breillat’s extraordinary and shocking exploration of society’s reaction to female sexuality. When a woman (Amira Casar) slashes her wrists in a gay bar, she challenges her homosexual rescuer (Italian porn star Rocco Siffredi) to spend four nights with her to “watch me where I’m unwatchable”. Graphic sex acts, rake handle insertion and menstrual blood quaffing ensue. Forget the cliché of the gay best friend, this guy can’t stand women.

It’s easy to snigger at the portentous dialogue (“The elasticity of a boy’s anus doesn’t lie about the tightness of the lower intestines”) and the assumption of misogyny may rile male viewers, gay or straight. But it confirms Breillat as one of the most genuinely provocative filmmakers around today. It goes even further than her previous essays on female sexuality (the graphic RomanceÀ ma soeur!) to create a real one-of-a-kind viewing experience.

Le Clan (2004)

This little-discussed film deserves far more attention. Directed by Gaël Morel (Our Paradise) and co-written by Christophe HonoréMa mèreMan at Bath), it tells the story of three brothers. The first segment focuses on the middle brother, a drop-out in trouble with some thugs, the second on the ex-con trying to go straight, and the third on the youngest sibling, who starts a relationship with another man. Only the final third is explicitly gay, but homoerotic tensions simmer throughout.

Most reviews focus on the showy performance of the frequently naked Nicolas Cazalé as the rebel without much of a cause in the first chapter, but the emotional heart lies in the final third, as Morel explores the complexities of the vulnerable gay youth who must choose between fraternal loyalty and a chance at romantic happiness. The last scene, backed by weeping violins, is achingly moving.

Les Invisibles (2013)

Sébastien Lifshitz is best known for his gay features (Going South), but his finest work to date is this revealing documentary in which gay men and women in their 60s and 70s talk about their lives and loves. While some tell stories of repression, family estrangement and catholic guilt, all are out, proud and inspiring, from the infectiously enthusiastic lesbian activist to the octogenarian bisexual shepherd unrepentantly recalling his many sexual conquests. Stirring archive footage from the 1960s shows pro-gay demonstrations – interestingly, many of the straight onlookers support the liberal marches.

These witty, charismatic and courageous people paved the way for the freedom gay men and women enjoy today. Their disarming frankness creates an invaluable oral history, while their tales of oppression show how far gay rights have progressed over the decades.

Film programmers discuss some of their favourite LGBT love scenes, including The Color Purple, A Very Natural Thing and Something Must Break.