Within each scene where Martin, Ward and Reiner (playing Ward’s duplicitous German butler and secret Nazi mastermind) interact with the likes of Cary Grant (left napping by Reardon in a train car) or Charles Laughton (unsuccessfully bribing Reardon to dump the case), Reiner, along with editor Bud Molin, never settle for the mere appearance of famous faces alongside Martin as constituting the gag. For Head and Rozsa, Dead Men Don’t Wear Plaid would be their final film. Oscar-winning composer Miklos Rozsa had done the original scores for The Lost Weekend and Double Indemnity, while production designer John DeCuir had, likewise, been in the business since the '40s. Legendary costume designer Edith Head had dressed the stars of some of the actual films Reiner was pulling scenes from (including The Glass Key, Sorry, Wrong Number, Double Indemnity and The Long Weekend).
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To do that, they assembled some staggering old-school talent. Reiner and Martin, however, sought to send up the private-eye genre from the inside, incorporating Martin’s Rigby Reardon into a legit-looking postwar detective drama. The premise of the movie, in less committed hands, would function as nothing but a quickly exhausted gimmick. Watch the Trailer for 'Dead Men Don't Wear Plaid' It’s that this Marlowe (culled from Bogart pictures like The Big Sleep, Dark Passage and In a Lonely Place) is portrayed as Reardon’s boozy former mentor and current lackey, berated at one point for not wearing the ties that Reardon keeps giving him. (Former magician Martin’s nimble fingers are constantly fiddling with the props.) That Humphrey Bogart himself appears as a character named Marlowe isn’t the joke.
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Martin’s Reardon expertly strikes matches with his thumbnail before flicking them unerringly into a distant ashtray in an approximation of tough-guy cool just heightened enough to be plausible for Sam Spade or Philip Marlowe on a good day. Sure, Reardon uses some Hays Code-inappropriate language at times, but the hard-boiled genre’s conventions left the filmmakers plenty of room to adapt Martin’s persona to the tale of a '40s gumshoe hired by a mysterious and beautiful dame (Australian actress Rachel Ward).
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Younger viewers, especially in the days before streaming or even readily available home video, were invariably drawn to The Jerk-era Martin alone and accepted his Reardon seducing Ava Gardner and being choked out by Vincent Price as just part of the gag.
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Older viewers watching Martin’s absurdly dapper private dick Rigby Reardon interact with iconic movie stars like Bette Davis, Kirk Douglas, Lana Turner, Ingrid Bergman and others would recognize the films and performances spliced expertly into the film’s deliberately ridiculous tale of a post-WWII Nazi conspiracy involving deadly cheese bombs. For 1982 filmgoers, Martin and Reiner’s one-joke premise was a demographic gauge of viewers’ sense of humor.