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DIRECTED BY: Josh Johnson, Grayson Tyler Johnson
FEATURING: Hope Stansbury, Gerald Jacuzzo, John Borske, Jimmy McDonough, Alex DiSanto, Stephen Thrower
PLOT: The Degenerate recounts the life and film career of “gutter auteur” Andy Milligan through the reminiscences of his collaborators and friends, and insights from film historians.
COMMENTS: The Degenerate aims to answer the question: how did a man with a promising career as a television actor in the 1950s, who then played a pivotal role in New York’s Off-Off Broadway avant-garde theater scene in the 1960s, end up directing low budget exploitation and horror films for the rest of his life? The short answer seems to be a lack of business acumen and a difficult personality, but the long answer provides a genuinely fascinating and entertaining dive into Andy Milligan‘s uniquely nihilistic world.
Milligan has been dubbed “the Fassbinder of 42nd Street.” This documentary explores just how he earned that dubious distinction. Born in 1929, Milligan’s life spanned all the major innovations in the American media landscape of the 20th century. He acted in live television in the early ’50s when the medium was brand new, appearing in Kraft Theater and Armstrong Circle Theater productions that also featured Leslie Nielsen and James Dean. He was an instrumental part of the theater community centered around the off-Broadway institutions Caffe Cino and La Mama, writing, directing, and acting in plays, as well as designing stage sets, lighting, and costuming. He would make at least twenty-nine low-budget feature-length films until his death in 1991.
His creative life changed in the mid-1960s, when he bought a portable Auricon motion picture camera, a model mostly used by news reporters, which records poor quality sound. But Milligan was determined to try his hand at filmmaking, even with second rate equipment. His second film, Vapors, directed in 1965 and originally written as a stage play by friend and fellow Caffe Cino member Hope Stansbury, remains a groundbreaking work of queer cinema.
Though Vapors portrays the gay bathhouse culture of New York in a sympathetic light, given the subject matter (and a very brief shot of full-frontal male nudity) it also became Milligan’s first exploitation film, playing in the burgeoning grindhouses of NYC and LA. Since most of these theaters were open all night, they were desperate for films to fill the hours and would screen anything considered even remotely racy. This debut was both Milligan’s triumph and tragedy. He would go on to make grindhouse fare for the next twenty years.
The Degenerate provides a mostly positive view of Milligan’s determination, his creativity, and his sheer chutzpah, while never shying away from the difficulties he faced—many arising from his own surly personality. He developed a method of cranking out elaborate films quickly and on the cheap. With an average budget of ten thousand Continue reading CAPSULE: THE DEGENERATE: THE LIFE AND FILMS OF ANDY MILLIGAN (2025)
Determined to marry Sala, Madame Papadéus’ daughter, little does Werner realize she’s already engaged in an affair with the gardener, along with her sister, Liberte (a woman who lives up to her name). Their cousin, Cascade, a Cinderella figure used by her family as a maid, conducts her own secret liaison with an artist, and the couple’s genuine feelings for each other prove highly problematic for the Spermulites’ mission.