This website requires that JavaScript be enabled in order to display properly.

Video

Gay Erotic Video Index

Casey Donovan

title

Boys in the Sand 1
distributor		Irving, Inc.	released	1971	length	75	vendor id	204
distributor		Bijou Video	released	?	length	75

stats/info

category	General Hardcore
studio	Poolemar Productions
rating out of 4	overall:** action: storyline:* videography:***
produced	?
type	Shot on film; Collection
body types	White, Black, Average

production
credits

director	Wakefield Poole
editor	Wakefield Poole
videography	Wakefield Poole
writer	Wakefield Poole

cast
credits

foot notes	performer	role
	Casey Donovan	man from bay
	Danny DiCioccio	man from pool
	Peter Fisk	man on bayside beach
	Tommy Moore	telephone repairman
N	Ed Parente	man with newspaper

foot notes:

N=Non-sexual role;

promo/
description

source: Gay Erotic Video Index

Named after the Mart crowley's Boys in the Band, this was the first hardcore gay film released into a theater: the 55th Street Playhouse in Manhattan on Dec. 29th, 1971 with no fanfare. The film cost $4,000, was filmed in 4 weekends, took in $400,000 and was distributed by it's own director.
This exceptional classic, with no dialogue, propelled Wakefield Poole and Casey Donovan to fame, of a sort.
The dreamy sex, altho not using the likes of today's beauties, still holds up to contemporary performances. It was filmed on Fire Island with cinematography that had never been seen in porn before.
Probably because of the handheld camera used, it looks like the cameraman was drinking too much coffee but this gets better as the movie proceeds and Wakefield learns from experience. The entire movie was shot with no artificial lighting.
Casey notes that the scenes were actually filmed in reverse sequence with Inside being the first shot.

scenes /
loops /
matches

source: Gay Erotic Video Index

1. Bayside (Poole) 400'
Peter Fisk, Casey Donovan
Peter Fisk walks on the boardwalk to the bay side beach of Fire Island, takes off his jeans and sits naked on his blanket looking out over the water. Casey Donovan appears in the water, from nowhere. He strides bare-assed from the bay and stands in front of Peter Fisk who puts his hand on Casey's stomach and then takes the eye level cock in his mouth. After being sucked for a little bit, Casey takes Peter into the bushes. They suck and fuck on the blanket but when they are done the naked Fisk runs out into the bay and Donovan is the one that gets dressed in the abandoned clothes, walking back up the boardwalk.
This scene was originally done on a lark but when Poole showed it to friends they said he should make it into a full length film. Fisk was Poole's lover at the time and it was originally filmed with someone named Dino. Dino wanted $2,000 for a release on his performance so Poole decided to re-shoot it. Someone suggested Casey Donovan. Casey looked at the results of the first shoot and was enthusiastic about the chance. Fisk wasn't really turned on by Casey but he did a good job of convincing us otherwise. The Dino/Fisk performance is now available on a combined Wakefield Poole CD from TLA Video.

2. Poolside (Poole) 400'
Casey Donovan Atb, Danny DiCioccio Atb
Casey sits on a low wall with a copy of a gay newspaper before he heads back to a house with a pool. Donovan writes a letter and mails it. Disappearing calendar pages indicate passing time. Casey gets a package from the post office. Inside the package there is a large 'pill' that he throws into a pool and Daniel DiCiccio materializes out of the water. They flip-flop their sex on the deck, dive back into the water together and then head to the beach.
As the two men go down the boardwalk, they pass Ed Parente. The newspaper from the beginning of the scene suddenly appears under Ed's arm. Ed was an artist friend of Wakefield's.
DiCiccio's participation was spur of the moment when Poole asked someone on Fire Island who Casey had been lusting after but neither Poole nor Casey had ever met. This was the first time Danny and Casey ever had sex together and they are really into it.

3. Inside 400'
Casey Donovan Ab, Tommy Moore At
Donovan sees telephone man Tommy Moore going past his window. He tries to entice Moore in but Moore walks off. Casey fantasizes about Moore throughout the house. The fantasy man gets used in every way but then fists Donovan. Donovan goes to answer the door and finds Tommy standing there.
This was one of the first interracial male sex scenes filmed and some people were scandalized by that. Using Moore was actually Casey's suggestion. He was one of Casey's past tricks and Casey had no concerns about his skin color.

action notes:

A=Anal; b=bottom; t=top;

contained in

The Wakefield Poole Collection
Erotikus (Brooks): A History of the Gay Movies

reviews

From ManNet

"Boys in the Sand" was marketed as a semi-mainstream male porno flick during a very special time in the evolution of the gay scene in this country. Poole enlisted his lover at the time, Peter Fisk, and three other extraordinary men, one of whom was a last-minute substitute and became by dint of his appearance in this film the first superstar in gay porn. That would be Casey Donovan, a blond, blue-eyed beauty who reminded everyone of Robert Redford, except, perhaps, when he whipped out his big dick (though, how am I to know?). The film turned out to be a paean to both Fire Island, its location, and Casey Donovan, who went on to be a cross-over star Off-Broadway under the name of Cal Culver as well as part of a celebrity couple when he was the lover of movie star and author Tom Tryon. But, you knew that.
What you might not know, or (like me) remember, is that "Boys in the Sand" was introduced as an "event" to the straight world, an artistic display of man love conceived, directed, photographed, edited and scored in an almost auteur fashion and it was sold as such to mainstream critics. It actually opened in a legitimate theatre in New York (which eventually became a male porn house) and it was even reviewed in Variety magazine. While that might all be important from a cultural and historical point of view (and I do not mean to underplay that importance one iota), what is important for our purposes here is that this is one hell of a fuck flick.
It's a fantasy, done without dialogue, spun out with a musical background that ranges from classical to rock to ethnic folk stuff. It begins with Fisk, a tall, slender, hunk with a light beard making his way to the shore where he strips and stares out to sea. Out of the mist rises an extraordinary sight -- the naked Casey, all-American guy with a heavy swinging dick. Casey moves to Fisk, who takes that cock in his mouth and gets down to action. The two move into the pine forest where Casey fucks Fisk, cums in his mouth, then sucks Fisk to super-hard status so that he can plunder Casey's butt and spill his seed into the blond's open mouth. Fisk gets up, runs to the sea and disappears. Casey follows, puts on Fisk's clothes, and takes his place in life.
If that sounds like simple porn, it isn't -- like the rest of the movie, it's filmed with exquisite lighting, shadows falling just right, sunlight catching what it should catch at the right time. That is most clearly shown in the second scene in which Casey, now playing the bored, lonely gay clone on Fire Island, answers an ad in a gay newspaper and hopes for the best. One day he gets an answer -- a box with a pill in it, which he must toss into his pool. After the pop-pop-fizz-fizz, what emerges is Danny DiCioccio, who is exactly what his name would imply -- a dark, super-tanned, white-butted Italian hunk with one thing on his mind -- endless sex with this hot blond stud. They kiss, they suck, and they slobber all over each other, much of the time covered in a tableau of shadows from the leaves on the trees surrounding the pool. While this could be an annoyance, Poole never forgets that the real audience here wants to see it all -- and he gives us a heart-pounding, round-the-pool, suck-and-fuck festival in which both men bottom in creative style before they explode over each other. Even though he is a fantasy, Danny follows Casey into the house, they clean up, and Casey sees him off on the ferry.
The final scene is the one which, given it was 1971, sent the shock waves flying in the mainstream -- though gays were thrilled, no doubt, that a tall, sinewy, handsome black man named Tommy Moore came on the screen in the character of a telephone lineman. Glancing out his window, Casey lets his mind take off, like a rocket, into a fantasy of sexual abandonment with this stunning, and, yes, big-dicked, babe, imagining what it would be like to fuck and be fucked (using poppers to accentuate his fantasy), in a brilliantly and sharply edited sequence. This eventually leads to what may, or may not, be Tommy coming into the house and donning Casey on for size -- with deep kissing and mutual sucking before the fucking starts. It's a sensational sequence with Casey first teasing a prone Tommy, whose ass keeps thrusting upward in a "Fuck-me! Fuck-me!" plea with a background balalaika streaming out hot Moroccan music before Casey plunges his beautiful cock into that ass. He fucks Tommy flat, missionary and in a sit-fuck before Tommy spins out of it, goes down on Casey's cock then shoves his own rod into Casey's ass missionary, then sit, then doggy, in a brilliant against-the-wall fucking which ends in an explosion of cum and a bye-bye, see-you-next-time wink. End of movie. A classic, simply a classic.

references

Irving Inc.. Gay Times #20, 1974 pg. 21 (Advertisement)
Irving Inc.. Gay Times #21, 1974 pg. 21 (Advertisement)
Charles Anson. "Future of Gay Cinema" Gay Movie Guide Jul. 1974 pg. 2 (Essay)
"Top 10" Gay Movie Guide Jul. 1974 pg. 5 (Notes)
Charles Anson. "Boys in the Sand" Gay Movie Guide Jul. 1974 pg. 7 (Review)
Allan Leopold, Rik Lawrence. "Calvin Culver Lookin' Up" In Touch Vol. 1 No. 10 Jul. 1974 pg. 16 (Interview/Pictures)
Irving Inc.. In Touch Vol. 1 No. 11 Aug. 1974 pg. 88 (Advertisement)
Irving Inc.. In Touch Vol. 1 No. 12 Sep. 1974 pg. 91 (Advertisement)
Irving Inc.. In Touch Vol. 2 No. 1 Oct. 1974 pg. 86 (Advertisement)
Irving Inc.. In Touch Vol. 2 No. 2 Nov. 1974 pg. 74 (Advertisement)
Irving Inc.. In Touch Vol. 2 No. 3 Dec. 1974 pg. 8 (Advertisement)
Siebenand, Paul. The Beginnings of Gay Cinema in Los Angeles: The Industry and the Audience. Los Angles, CA: USC, 1975 pg. 38,86,88,132,156-158,160,163,164,169,203,215,216,256,273,284
Irving Inc.. Gay Times #26, 1975 pg. 23 (Advertisement)
Irving Inc.. Gay Times #30, 1975 pg. 23 (Advertisement)
Irving Inc.. Gay Times #28, 1975 pg. 23 (Advertisement)
Irving Inc.. Gay Times #27, 1975 pg. 23 (Advertisement)
Irving Inc.. Gay Times #32, 1975 pg. 25 (Advertisement)
Irving Inc.. Gay Times #31, 1975 pg. 25 (Advertisement)
Irving Inc.. Gay Times #36, 1975 pg. 25 (Advertisement)
Irving Inc.. Gay Times #35, 1975 pg. 25 (Advertisement)
Irving Inc.. Gay Times #34, 1975 pg. 25 (Advertisement)
Irving Inc.. Gay Times #33, 1975 pg. 25 (Advertisement)
Irving Inc.. Gay Times #38, 1975 pg. 30 (Advertisement)
Irving Inc.. Gay Times #37, 1975 pg. 30 (Advertisement)
Irving Inc.. In Touch No. 21 Dec.-Jan. 1975 pg. 85 (Advertisement)
Andre. "Pornography in Chicago" In Touch No. 17 Apr.-May 1975 pg. 30 (Essay)
Irving Inc.. In Touch No. 17 Apr.-May 1975 pg. 83 (Advertisement)
Irving, Inc.. In Touch No. 18 Jun.-Jul. 1975 pg. 75 (Advertisement)
Irving, Inc.. In Touch No. 19 Aug.-Sep. 1975 pg. 78 (Advertisement)
Bijou. In Touch No. 20 Oct.-Nov. 1975 pg. 83 (Advertisement)
Irving Inc.. Gay Times #45, 1976 pg. 23 (Advertisement)
Irving Inc.. Gay Times #39, 1976 pg. 23 (Advertisement)
Irving Inc.. Gay Times #40, 1976 pg. 23 (Advertisement)
Irving Inc.. Gay Times #41, 1976 pg. 23 (Advertisement)
Irving Inc.. Gay Times #42, 1976 pg. 23 (Advertisement)
Irving Inc.. Gay Times #43, 1976 pg. 23 (Advertisement)
Irving Inc.. Gay Times #44, 1976 pg. 23 (Advertisement)
Irving Inc.. Gay Times #46, 1976 pg. 24 (Advertisement)
Irving Inc.. Gay Times #47, 1976 pg. 24 (Advertisement)
Irving Inc.. Gay Times #48, 1976 pg. 24 (Advertisement)
The Nob Hill. Kalendar Apr. 16, 1976 pg. 4 (Advertisement)
Irving Inc.. In Touch No. 23 May-Jun. 1976 pg. 81 (Advertisement)
Bob Kiggins. "Wakefield Pool Mellows" In Touch No. 24 Jul.-Aug. 1976 pg. 40 (Index)
Irving Inc.. Gay Times #49, 1977 pg. 24 (Advertisement)
Irving Inc.. Gay Times #50, 1977 pg. 24 (Advertisement)
Michael Llewellyn. "Homosex in the Cinema" Mandate Vol. 2 No. 22 Feb. 1977 pg. 33 (Essay)
"Green Light" The Informant Sep. 1977 pg. 5 (Notes)
"What's Happening?" The Informant Dec. 1977 pg. 2 (Notes)
Jack Fritscher. "Dirty Poole" Drummer Vol. 4 No. 27 1978 pg. 14 (Index)
"Man Data" Mandate Vol. 5 No. 48 Apr. 1979 pg. 34 (Notes)
VBM Corp.. Drummer Vol. 5 No. 47 1981 pg. 21 (Advertisement)
Harold Fairbanks. "The All-Male Film" Stallion Vol. 1 No. 2 May 1982 pg. 22 (Essay)
"The All-Male Film part 2" Stallion Vol. 1 No. 3 Jun. 1982 pg. 24 (Essay)
"Top Ten Turn-Ons" Torso Vol. 1 No. 6 Dec. 1982 pg. 12 (Notes)
John W. Rowberry. Gay Video: A Guide to Erotica. : Mark-One, 1986 pg. 24
"100 Best Videos" Studflix Vol. 5 No. 6 Oct. 1987 pg. 6 (Review)
Bill Bottiggi. "Bisexual Bandwagon" Manshots Vol. 1 No. 3 Jan. 1989 pg. 4 (Essay)
Christopher Parrish. "State of the Art: Afro-disiacs" Manshots Vol. 1 No. 7 Aug. 1989 pg. 19 (Essay)
B.Q.. "Classic Videos: Boys in the Sand" Manshots Vol. 4 No. 4 Apr. 1992 pg. 49 (Review)

Note: All names credited on this website, whether for performance or production should be considered fictional stage names. Any resemblance to actual persons, living, dead or otherwise, is purely coincidental.

©2022