Lack of good storyline.

Good concept, poorly executed.

Easily the biggest piece of Right wing non sense propaganda I ever saw.

If you're interested in the topic at hand, you should just watch it and judge yourself because the reviews have gone very biased by people that didn't even watch it and just hate (or love) the creator. I liked it, it was well written, narrated, and directed and it was about a topic that interests me.

Talk about timely ! A mere year before his death, which occurred just days before that of legendary blue movie goddess Marilyn Chambers (cruelly robbing the adult industry of two of its most cherished luminaries), Jack Wrangler at last received his due with this jocularly named documentary from Jeffrey Schwarz, seasoned director of many a "Looking Back" featurette stashed away as a valid - if rarely viewed more than once - extra on DVD "Collector's Edition" re-releases. Son of renowned TV producer Robert Stillman (who sired the small screen Western sagas of BONANZA and RAWHIDE), Jack quickly proves the first to debunk his own supposed "myth" as "a big fish in a very small pond", that pond being porn, more specifically gay porn throughout the 1970s. Herein lies the rub. The cataclysmic Stonewall riots of 1969 marked an end to the repression of gay sexuality in America and the euphemisms employed to disguise it. Free expression was the homosexual's newfound right, naturally extending to the artistic fields of theater, photography and cinema, literally tearing at the notorious posing straps that had thus far obscured the models' most desirable parts in that most enduring euphemism of them all, the "physique pictorial" mastered by Bob Mizer's Athletic Model Guild.Exposure evolved in explicitness as Broadway choreographer Wakefield Poole rushed his 1971 breakthrough BOYS IN THE SAND into same sex screening rooms weaned on rosy-colored if heartfelt Pat Rocco fare, beating Gerard Damiano's 1972 DEEP THROAT (the straight side's "answer", if you will) to the punch in putting porn on the map. That film's brightly shining star, the late Casey Donovan, may have been the first homo hardcore performer worthy of this increasingly elusive epithet, it would take about half a decade for the newly acceptable form of entertainment to develop its inevitable "icon" in the form of Wrangler. Now, the very nature of an icon is unchanging, regardless of circumstances, and that's exactly what Jack (who took his stage name from the inseparable plaid shirt that was to become his blue collar stud trademark) brought to this decade's dirty movies, a previously unseen type (the rough-hewn man's man who could sexually give or take with equal aplomb) subsequently cultivated into stereotype by the likes of filmmaker Tim Kincaid a/k/a "Joe Gage" and his landmark trucking trilogy, the first episode of which - the 1976 KANSAS CITY TRUCKING CO. - effectively launched Wrangler's carnal career.Very much unlike an icon however, coming from a background in legit theater and film (having co-starred in Wendell Franklin's notorious 1971 "blaxploitation" offering THE BUS IS COMING), Jack quickly tired from this two-dimensional persona, identical from one fornication flick to another, searching to expand his talents. What better way for an unapologetic gay actor to prove his mettle than by providing the cinematic equivalent to the all too common real life situation where closet homosexuals are able to "pass", by making love to a woman (for the very first time !) and thereby crossing over to the more widely frequented, if in truth only marginally more "respectable", heterosexual corner of the industry. This historical occasion took place on the set of the unjustly overlooked Sam Weston a/k/a "Anthony Spinelli" sleeper CHINA SISTERS with Jack assuming the role of an obnoxious dyed in the wool queer "turned around" by the joint efforts of titular siblings Vicky Lyon and China Leigh. After that, Wrangler's adult career took on astronomical proportions, garnering fame and acclaim for his work on some of the most highly regarded hardcore epics of the genre's "Golden Age", his delectable turn as the devil himself ("Lucy") worthy of Hollywood at its most screwball sophisticated in Ron "Henri Pachard" Sullivan's superlative sequel THE DEVIL IN MISS JONES PART II perhaps the crowning achievement.Still this was not the end of the line for Jack. Parting from porn prior to pathos kicking in, he made the acquaintance of songbird supreme and Broadway royalty Margaret Whiting, defying both odds and stereotype once again by becoming partner in both love and life to a woman his senior by two decades. Their alliance, however "unlikely", continued harmoniously until his passing. By allowing its animated subject to talk freely, only briefly interrupted by additional talking heads and assorted film clips (a veritable treasure trove for those in the know), this delightful documentary does a great job at drawing a vivid portrait of the "man behind the myth", even for people who may never have heard of him and bridging the gaps for those who have. Resigned in his frustration that he was always being referred to as "former porn star", although artistic and humanitarian endeavors in the three decades since proved plentiful, Jack "Wrangler" Stillman belatedly shapes up as a genuine "Mensch", a proper epitaph for a puny Jewish kid (ironically, his upscale California kinfolk successfully "passed" for Presbyterian in the appearances are everything age that were the 1950s) who bench-pressed his way towards sexual supernova status and in doing so inspired gay men to cast off the shackles of suppression by supplying a positive stereotype to counter-act all the negative ones that preceded it. His importance to both pop culture and general sociology, not just the gay "island" within, should not be slighted. The world's a better place for having known the likes of him.

I've always been a fan of Wrangler's gay porn, chiefly because he imbued a lot of passion in his sex scenes, and because you could just tell he was a nice guy underneath it all. I was at least half right. As this documentary makes clear, Wrangler was in fact a very nice guy. But there are mistakes in presentation in this film, and they puzzle me. For instance: Jack's groundbreaking role in gay porn is nicely delineated, yet all the commentators bypass the reality. That is, they praise his macho film image and actually convey this as his screen power, when in fact Wrangler's porn work was mostly macho shtick, an over-the-top, unconvincing strut. Which is why you fell for him - you saw the niceness, and he made it work ONLY because he had a sexy body. There was no stud persona, really, men. There was a sweet dude who was hung, who overplayed, and who was...well, sweet. Why does this movie fall short? Oddly, because it lets Jack talk way, way too much, and there's no room for an interesting analysis of how that early world of gay porn was the perfect doorway for a mediocre actor (and his filmed bits of club acts are somewhat painful to watch) who was gay, far more effeminate than either he or the documentary is willing to admit, and who wisely spent time at the gym. Similarly, Wrangler goes to extremes to justify his marriage to Margaret Whiting, when what emerges is an unnecessarily lengthy dance around a union formed between a gay man and a straight woman who were great, great friends. I just feel...let down. No mystery - and little hard reality - is conveyed here, either about Jack the porn star or Jack the husband. Yet, maybe it's not the film's fault. I dare say I merely expected greater depth from a subject that, while sweet as hell, has little to offer.

I never found Jack Wrangler the least bit sexy. Why wasn't Jack sexy for me? He was a Ken doll, too bland, no depth of personality shown on screen, no interesting quirks. Yes, he was attractive in a smooth, blond way. He'd been to the gym and built himself up. And he certainly had a fine circumcised cock (on display here) that was suitable for porn films. Yet, I can never recall seeing Wrangler in a sex scene where I felt he was actually involved with his partner. He always seemed to be "phoning in" the sex scene, as if the real Jack Wrangler was not even in the same room. His orgasm scenes were equally faked and that is proved in this documentary when clips are shown of Jack ejaculating and Jack being buggered (for want of a more specific word). His reaction is more comic than sexual.All of this was explained for me in this documentary and in Jack's book, "What Is A Nice Boy Like You Doing?" Wrangler was a character, a persona, that Jack Stillman created, and in that role, Wrangler performed in porn films. Stillman's real self was left behind when he was being filmed.This documentary clearly states that most of the guys in gay porn films were hustlers, were not well educated, often had criminal records, were heavily into drug use. Wrangler was none of these things. He came from an upper-middle-class background, lived in Beverly Hills, went to a private secondary school, had some college at Northwestern near Chicago, and had taken classes at a drama school in Manhattan. When he left the porn set at the end of the day, he went back to a world very unlike his co-stars returned to. Wrangler never hustled; he didn't have sex for money. Most gay porn actors did. As this documentary makes clear, these gay porn actors used their porn films as a launching pad for hustling and for personal strip show appearances around the country. Through the porn film, the guys became known, and based on that "fame" were able to get bookings into strip clubs and peddle their butts at high prices.The talking heads in the show overestimated Jack Wrangler's importance to gay porn because they didn't place Wrangler in context. There was some mention made of other porn filmmakers and actors but not enough. "The Boys in the Sand" was the first important gay porn film in Manhattan, playing months at the 55th Street Playhouse. Casey Donovan certainly had a huge impact on audiences in that early film. Other porn actors were equal to or exceeded Wrangler in popularity. However, most of them died of AIDS and aren't available for interviews today.Now, having said all of these negative things about Wrangler, I must say this film completely changed my opinion of him. Jack Stillman--not Wrangler--is actually a very entertaining guy who has a stock of interesting and often hilarious stories to tell. And tell them he does! It's hard to get Wrangler to stop talking. This may not be fully apparent in the film itself, but the DVD has an extra that includes footage from Stillman interviews that didn't make the film. And Jack is enormously entertaining. I'd enjoy having dinner with him, because I'm sure he'd dominate the talk, but I'd never be bored.Another thing that made Jack appealing is his looks. He lost that blond Ken Doll look as he aged. The interviews for this film were done when Jack was 59-60, and I find him much more sexy and appealing as he looks now with his gray hair and his wrinkles than when he was blond and smooth. Now Jack Stillman is a real person--unique, and with a personality that emerges through his talk. He frankly talks about manufacturing the Wrangler image and is willing to both make fun of Jack Wrangler and to treat him deprecatingly.The Jack Stillman revealed in this documentary made it worth my time to watch the film and is the only reason I would recommend the documentary.

Jack Wrangler was a spoiled Beverly Hills brat, an insecure homosexual, and an unsuccessful actor who became the self-made top-echelon icon of gay pride in porn movies. Having reached the peak of the gay porn-star profession (a profession he virtually created as he created himself), he then made just as big a name in straight porn, married a famous woman, and started several new careers. This detailed, crystal-clear documentary takes you through Jack's mind and life with copious footage of him, his work, his times, and a great many people who were around him. As a co-worker of Jack's and a participant in this movie, I assure you that director Schwarz has caught Jack's quiet, charming, and above all strong essence perfectly. This is the Jack I know.