Lloyd's of Hollywood
8X 10 inches
Glossy photograph -- Joe Dallesandro Photographer Bruce of LA Circa 1970 Vital Stats: Born: December 31, 1948 Birth Place: Pensacola, Florida Nationality: American Bio: Tall, androgynous leading man who made his name in several of director Paul Morrissey's collaborations with Andy Warhol. Monique von Vooren was mesmerized by his "translucent skin"; Sylvia Miles called it "the warmest in the world." To Holly Woodlawn he was "a nice guy" and "a real gentleman"; to Paul Morrissey, a "great actor" on par with John Wayne. Andy Warhol said, "In my movies, everyone's in love with Joe Dallesandro."

Even stuffy rags like the New York Times were uncharacteristically earthy in their reaction: "His physique is so magnificently shaped that men as well as women become disconnected at the sight of him. ------ Personal quotes "My introduction to the gay world did two things. One, it saved me from life in prison for murder, which is probably where I would have wound up.

How? Because the gay world showed me that you didn't have to beat up every man you saw or hurt people to make a point. It gave me a whole other attitude, a calmer attitude. Two, it tought me never to be homophobic, even before there was such a term. I think because I grew up in a period, especially later on, when the people I looked up to were like...my heroes....That's what I liked about the period, that a man could say he liked both, that he appreciated both the look of a man and the look of a woman without being stereotyped."-

-------------------------- Handsome, androgynous, thoroughly amateurish leading man in some of Andy Warhol's more popular movies directed by Paul Morrissey. He starred in the "acclaimed" trilogy comprised of Flesh (1968), Trash (1970), and Heat (1972).

He also starred in the lavish productions of Andy Warhol's Frankenstein and Andy Warhol's Dracula (both 1974), which were released here in 3-D. Bit parts in mainstream features in the 1980s, such as The Cotton Club (1984), Critical Condition (1987), Sunset (1988), and Cry-Baby (1990), haven't done much to advance his post-Warhol career. His incredibly stilted line-readings and zombielike reactions may be at least partly to blame.--

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