“I love doing gay porn…I’d even do it for free…”
This was Justin Hardin, speaking in an interview in 1983, four years before his timely death.
He was a pioneer, and along with a mere handful of others will eternally remain amongst the elite of the adult film industry, the cream of the crop. Like Joey Stefano, his nearest equivalent of the next generation and also the subject of a biography about his life in gay porn, he was a Janus figure, a complex individual not always easy to define. Away from the studio, inasmuch as Joey became Nick Iacona, his birth name, so Justin Free was always himself.
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The two were always separated: the porn superstar and the boy-next-door. Like Joey, nothing was too exhibitionist or outrageous for Justin to do on the screen, while away from the studio he is known to have been shy and unassuming. On the screen he could be smug and aggressive, but it was all part of the act—what the director demanded.
Though inordinately handsome, having a partner who was thus was not always essential for Justin, proving to the viewer that even an unattractive man could “pull” someone who looked like a Greek god. It was all make-believe, but it invariably worked.
This is his amazing story before Free Gay Porn…
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Wakefield Poole was born in Jacksonville, Florida, around 1936. A trained dancer, he joined the Ballet Russe de Monte Carlo in 1957, and later became a choreographer-director on Broadway working in such productions as West Side Story and The Unsinkable Molly Brown —and on television in The Gary Moore Show and The Ed Sullivan Show . He also staged a season of The Phyllis Diller Show. Though openly gay, he married once, in 1964 to a dancer named Nancy Van Rijn, a union which lasted four years. After his divorce, he and his lover of two years standing, Peter Schneckenburger (who worked under the pseudonym Peter Fisk) turned their attention to experimental film- and free gay porn…, and Poole “saw the light” after going to the Park-Miller Theatre with Fisk and a group of friends to see a “monstrosity” called Highway Hustler .
Shot on film in four loops, way before anybody made gay porn and before PornHub ever existed, with Danny Det and Dick Fuller, Highway Hustler is the gay porn story that tells of a hitch-hiker who is abducted and sodomized at gunpoint—to a soundtrack of “June Is Busting Out All Over”. Poole recalled that after watching it, he felt like he had done something his mother had told him not to do…
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Fisk had recently bought Poole a movie camera, and for the past few weeks they had been experimenting with this and now felt it that it was time to put it to good use. The result was a ten-minute short shot on Fire Island, a favourite weekend retreat of Poole and Fisk. Partnering Fisk was an Italianate man named Dino, who worked in a local gift shop.
The sequence told of a chance gay encounter in the Meat Rack, one of the island’s main cruising areas, which Poole entitled Bayside . He showed it to friends, and such was their enthusiasm that they suggested he shoot two more segments, enough for a full-length feature, and seek backing for theatrical distribution. Poole teamed up with a producer friend named Marvin Shulman, and they formed Poolemar Productions. There were problems when Dino heard about the possible production deal and demanded $2,000 for his participation, along with 20% of any profits. Poole was having none of this, and when a mutual friend, Joe Nelson, introduced him to Casey, history was in the making. Poole recalled:
When I opened the door the first thing I saw was this incredible smile on a very handsome face. His look was perfect—the type you see in magazine ads, not porno movies. I showed him the section with Peter and Dino. When it was over, Cal stood up and said, “I want to do it! You just tell me what to do and I’ll do it. It’s really great. When do we start? Remember this was xxx gay videos, there was no PornHub for free gay sex videos.
Poole later observed how he only needed to see a face to work out if an actor was screen-perfect:
Actually, even though I want my actors to make love actually to fuck the camera, I very seldom have them strip. Sometimes I do when in doubt. I mean, in an audition, with three of us interviewing the prospect we might say, “Drop your jeans and get it hard.” That’s more for the shock therapy than for any exploitation. I cast basically by feedback, aura, securities, insecurities. I find faces as important, if not more important, to my films than genitalia. That’s the essence of cinema: face. Not tits or ass or cock or fist. Face.
Casey was so impressed that he offered to work and make gay porn for free! He was paid $500, the amount he had been paid for Casey , along with the promise of a handsome bonus for each $12,000 the film took at the box-office—providing that it got this far and proved successful. The sequence with Peter Fisk and Dino was re-shot with Fisk and Casey, and the result was so perfect that Poole decided to film two more segments, Poolside and Inside and, as had happened with Casey , reconstruct a storyline around him. Filming took place on Fire Island, over three weekends in August 1981, on a budget of $8,000.
For Poolside , Poole hired 32-year-old Danny DiCiccio, a local handyman who had also appeared in Colt loops as The Carpenter, in reference to his trade. Casey said he had been trying to get him into bed for some time, and now he had a legitimate reason for poaching him away from his lover, if but for a little while. For Inside , Casey recommended an African-American former trick named Tommy Moore, who worked as a barman on Fire Island. His main claim to fame is that he had a big black cock.
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Bayside opens to a Debussy soundtrack, and with the title and the name “Casey Donovan” etched into the sand. Then we see bearded Peter Fisk heading for the beach, where he spreads out his sheet, strips naked, and reclines to gaze out across the horizon. In the distance, Casey materializes from the water and runs towards the sand, in slow motion, his impressive appendage swaying from side to side. There is no dialogue, and henceforth everything is improvised, the hot gay sex natural and unscripted. Casey wears a cock-ring, Fisk a cock-strap. He stands before Fisk, who places the flat of his hand on his stomach, then proceeds to fellate him – cocksucking.
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For the first time—this never happened in Casey —we see Casey with a full erection and sucking cock —a thick, eight-inch, attractive circumcised penis, huge cock – but with more skin than most cut American porn stars, and which remains hard throughout the production, even in non-sexual scenes. After a little while, Casey indicates for Fisk to follow him into the bushes. The sun flickers through the leaves and across Casey’s profile as he gazes skyward, making him appear almost angelic. Removing the studded leather strap from Fisk’s wrist, he fastens this around his penis and testicles, and they take turns penetrating each other, resulting in Casey’s very first genuine on-screen gay cum shot. Yes, it’s wrapped around his hard dick and big balls. This gay porn could easily be one of voyeurism, with cameraman Poole hiding out of sight, and the two men blithely unaware that they are being watched and filmed. When they are done, Fisk removes his cock-strap and fastens it about Cal’s wrist before running into the sea and disappearing, while Casey dresses in Fisk’s abandoned clothes, assumes his identity, and returns to the boardwalk.
In Poolside , Casey is sitting on a wall with Gay Magazines tucked under his arm. He heads for the “Frank House”, which itself was a kind of celebrity, owned by friends of his, and which fits in well with Poole’s avant-garde approach to film-making. Designed by the architect Andrew Geller, it had been built in 1958 for ice-cream entrepreneur Rudy Frank, who had visited the Mayan ruins at Uxmal, in Mexico, and been so inspired by the many-stepped Pyramid of the Magician that he had asked Geller to come up with something along these lines, with inward-sloping walls. The house stood on a high sand-hill overlooking the Atlantic Ocean, and had wide decks on three sides, a catwalk crossing the living area, and an all-glass façade. There was also a door high up on one side—which opened on to a long drop to the grounds below. Introducing the viewer to the property, Casey is greeted by the owner’s shaggy dog, who naturally recognizes him. He goes to the pool, strips and gets on to a sun-lounger, where he reads the paper. The “Wanton Ads” column is on the back page, and in the pool-house he pens a letter in response to one of these, signing it with his own name before returning to the boardwalk where he mails this. We see him jogging along the beach, then disappearing calendar pages signify the passing of time. Some of these float on the pool where Casey affects what he called his “Esther Williams swimming routine”. Next, he walks to the post-office to collect his reply, which arrives in the form of a package. Returning to the pool, he strips naked, gets hard as if aware of what is about to happen, and opens this. It contains a large, alka-seltzer type pill which he throws into the pool. This churns, and the phenomenally-endowed Danny DiCiccio, and his huge cock which materializes out of the water.
He is a hulk of a man with whom Casey engages in acrobatic but rough turn-and-turn-about sex on the decking, their complicated positions among the flickering shadows choreographed by Wakefield Poole, but still looking perfectly natural. The Colt loops that Danny had appeared in contained erections, but only simulated sex, made to look real by way of clever camera angles. This may explain that while Casey cums. They then roll into the pool, and after a little gentle horseplay towel each other dry and go down to the beach—sitting on the wall is Ed Parente, a friend of Wakefield Poole engaged for the stills photography, and who is reading the same newspaper that Casey was reading earlier. Parente walks off, in the hope of history repeating itself.
Inside opens, giving the viewer no clue as to what has happened to Danny. Casey is naked and spread-eagled face-down on the bed as the morning sun filters through the window. He gets up, gets hard, showers, towels himself dry, and crosses to the window where he sees Tommy Moore walking past, checking the poles. Casey begins masturbating and watches him, first through the net curtain, then in full view on the balcony, but Moore does not seem interested.
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I was freshest when I did that one, People have since told me, “But he’s so black!” I wouldn’t have cared if he was green. I dug him, and that was all that mattered. I would have done free gay porn with him.
Shooting wrapped, with none of the participants—Wakefield Poole included—knowing what would happen next.
Harden introduced Casey to Nelson, and he was given a small part in the film—that of a self-loathing hustler. He was listed as Calvin Culver on the call-sheet, though his name was left off the credits. It was not a good film but it did show that since the 1969 Stonewall riots, little had changed on the New York gay porn scene where prejudice and attitudes were concerned. The action takes place on Christmas Eve in Greenwich Village, in an establishment referred to by one client as “a pansy-perch, a haven for homosexuals”. It is a sad story but a quick look at gay sex and hardcore gay porn when PornHub was just a fantasy.
