Rocco’s skill as a filmmaker included that of a documentarian, as the film includes ample footage he shot of the late politician, including a 1978 speech that figured prominently in both Academy Award winning films about Milk. The film similarly acknowledges his role in the development of Pride celebrations, including his close work with Harvey Milk. The film affords Rocco ample time to discuss his work as a figure in the gay community, including providing work and stability for men via Hudson House, which let homeless queer people earn a living through a combined work mission and soup kitchen. Pat Rocco Dared demonstrates how the filmmaker’s art, moreover, wasn’t his sole form of activism. As the notes of “When You Wish upon a Star” guide their exit, the film simply situates the men’s right to a joyful day on the same plane as the families walking through the gates. The actors, and the camera, weave between families with kids. The film ends with Ron and Chuck walking through the park hand-in-hand. On one hand, the production subverts the heteronormativity on which Disney’s fantasies-and nearly all mainstream films-are based.
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It mostly depicts two young men spending the day together in the theme park. Ron and Chuck in Disneyland Discovery is an innocent romance as Rocco walks David through the film. Photographers remain prohibited from bringing tripods to the park because of Rocco’s production. Rocco explains how he shot the film on location in Disneyland, and Disney censors the short to this day. Although Pat Rocco Dared becomes somewhat repetitive while exploring the director’s credits, Chapdelaine and Christie make an especially strong case for the oeuvre’s significance with the sequence about the 1969 film Ron and Chuck in Disneyland Discovery. Rocco, who passed away in 2018, is modest about which of his films proved the greatest breakthroughs. Nearly every shot is a money shot, yet Rocco and David unpack the fine line between erotica and pornography. There are shots of men prancing nude in the fields, cruising the streets, and cuddling between the sheets. The doc lets Rocco walk David through his filmography, offering something of a film school seminar on the history of breaking taboos-and barriers-through underground art movies.
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Rocco argues that his films are not pornography and it seems that Chapdelaine, Christie, and David agree.
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The film makes extensive use of Rocco’s archive as David and the director revisit the motherlode of gay erotica. Moreover, the doc attributes Rocco’s artistic focus on intimacy, rather than hard-core smut, helped these lusty men heat up the screens in theatres from New York City to Podunk, USA. They explore how Rocco’s oeuvre let men who like men see themselves reflected. The film, directed by Morris Chapdelaine and Bob Christie, follows Toronto filmmaker Charlie David as he visits Rocco in Hawaii. This celebration of the filmmaker’s life, work, and legacy salutes the power of seeing oneself on the big screen. However, the documentary Pat Rocco Dared makes a fair case that the so-called “cock danglers” had a power that many Hollywood heavyweights lacked.
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Pat Rocco admits that the well-endowed gentlemen who performed in his films were not actors, but “cock danglers.” The boys of Rocco’s arty skin flicks truly weren’t budding Brandos.