This film does represent a historical piece of gay film. It's funny, dreadful, sweet and tender in bits! Don't watch this if you take things too seriously.

I agree with the previous writers on all complaints about this movie. Apparently the owner of Continental Baths decides to make a movie about his just opened establishment in 1975. The script is very thin, the acting is pretty bad at times and the shots even worse. However, given that the movie was made in 1975 at a venue where very little film material is probably available I do think it is worth watching. Don't watch it because of the script, acting or quality of the movie itself. If you watch as a document of a phenomenon of that time in a dramatized way I think it makes much more sense. The movie can be found on YouTube now.

When I saw this film in Washington DC in 1976 - at the tender age of 16! - I was flabbergasted by the finale, where the two male leads get onto a bed, kissing, completely naked. Fast forward three decades later - when I saw this was available for rental, I sat through the whole thing, and remembered bits and pieces of it. While the very handsome male lead (the bi guy) does get shown nude with his wife, the last scene with the two guys naked got replaced by a scene of them, fully clothed, on the roof of a building talking and kissing. Kind of a letdown! Still it was pretty cool to relive that amazing moment from the seventies when I witnessed gay film-making for the first time.

While watching this I was faced with conflicting thoughts. I was a young man in NYC in the 70's, and had discovered the fabled Continental Baths a year previous to when this was released. The Continental was a ground-breaking establishment - up until then the majority of the bathhouses were Mafia-run, filthy, run-down and unsafe, and then Steve Ostrow took over the decayed health club in the basement of the Hotel Ansonia and turned it into a true pleasure palace - with original art (I remember a series of wicked Tomi Ungerer drawings and some early Plexiglass sculptures), great lighting, music, a juice bar - and a private elevator up to the roof sun deck. For me, just coming out, it was an exhilarating and liberating space to be in, where I could freely express my sexuality and begin to meet the rest of the community (that I'd barely knew existed).So to see the few interior shots, and the shots of Greenwich Village as it looked in the 1970's was a treat - as was seeing a bunch of skinny men with so-so bodies and remembering that we didn't have to face the Gym Facists back then - it was enough of a wonder to just be young and queer.On the other hand, the film is a shapeless mess, with a thin plot and an abrupt ending that I found infuriatingly simplistic and weak. Some of the acting's decent, (there's also an eerie Judy Garland turn by Caleb Stone and an all too brief glimpse of Jane Olivor performing), but the film feels partly like a pitch for the Continental (no surprise, as Steve Ostrow is listed as a producer and appears in a few scenes as well).