Clark Bray’s review published on Letterboxd:
James Robert Baker. "The world's angriest gay man." Why have I never heard of you?
This script is so funny in this thing that I was pausing left and right to write down my favorites. Here is what I collected:
“They filled my mind with crazy thoughts like running nude through a Kmart, or sitting on Richard Gere’s face.”
“I’m so sexed up right now I could pump into a weasel in a mini skirt.”
“He hypnotized me with those Charles Manson eyes.”
“Why don’t you invite me in for coffee and sit on my face.”
“If you happen to be a lesbian, it doesn’t matter. We would like to hear from you.” (LOL to this one especially)
Not to mention "Marcel Prowst."
Blonde Death is an extremely low budget release that was never even widely distributed to home video. Evocative of John Waters projects, it is a subtle/not so subtle critique of Reagan-era conservatism. It looks like the director, James Robert Baker, mostly wrote novels after making Blonde Death. The novels were gay themed attacks on an America that didn't give two shits about the AIDS pandemic.
The screenplay is so funny and the characters so nuanced that any faults caused by the movie's low budget production don't really matter. The two male leads are clearly homosexual, and in prison for one reason when the real reason is because they are gay. It is fascinating how Baker presents the media coverage of the men after they escape prison, painting them out to be lunatic serial killers. Kind of like the antagonist of The Slumber Party Massacre. My take is that the media coverage is in reality how Baker thinks conservative media see the gay community. As psychos that need to be locked up and forcibly changed.
By the end of the movie, you are rooting for everyone as they elude the authorities in this very The Sugarland Express manner. The viewer becomes the progressive sympathetic to Baker's cause, in contrast with the conservative antagonists of the movie. By film's end it is not clear which side has won, which is a powerful reflection on where American politics stood during the mid 1980s.
Watched with those rascals at Collab Film Club!