Frank, I wrote this out for myself after seeing Feisto months ago at ATA, thinking I would condense and sum up from these organized notes, so this is the rough draft and may have some errors still...

Marie Kazalia

feisty "Feisto" an anti-Svenghali

In Feisto, screen writer/actor Frank Moore uses what he calls the "small", or intimately human, to teach larger life-lessons. In the opening scene of the film, two improving women actors laugh and play as they devise a plan to start up a clothing business in Berkeley California--one of the young women designs clothes and the other has a strong business sense. Jointly they work for and achieve financial success. But over the years the fashion designer‘s poet boyfriend, who she supports--provides with a home and gives expensive gifts like flying lessons-- has been dragging her down. She splits with her boyfriend who leaves for L.A. in search of employment, trying hard to become the breadwinner, thinking this the proper balance that will bring them both happiness. Upset over the breakup, she shuts down, and is unable to create new designs for the coming spring clothing line, so tells her friends she needs to take time off from work.

While walking in the woods, she finds a naked Feisto (Frank Moore). He can’t speak or walk, but as she plays with him her lost laugher is restored. She brings clothes and a wheelchair back to the woods, dresses Feisto like her doll, her baby, but she can’t lift him. Then amazingly, he magically zaps himself into the wheelchair. She wheels him home laughing all the way. While preparing a meal for him in her kitchen, Fesito zaps away the clothes they’re wearing. He‘s unable to feed himself so she spoons food into his mouth that dribbles over his naked body and hers. (Here I couldn’t help think how this a real down and dirty version of the feeding scene from the film 9-1/2 Weeks, ha!) Next she gets into a hot bath with Fiesto to wash away the food on their bodies, laughing and playing throughout. All this illustrating Frank Moore’s intention to truthfully portray, that (I’m paraphrasing from Frank’s talk after the film) eroticism occurs all the time everywhere, not just in the bedroom. Feisto is a one-of-kind man. Some think he’s from another planet. His natural anti-Svenghali powers work for the good of the woman‘s psyche, to free her (not feed off her energy to boost his ego, overpower or manipulate her). A powerful connection develops between them and he reminds her of a childhood friend. Feisto inspires her to live authentically. She comes up with new designs for dresses and shirts while playing with him and dressing him. She listens to Feisto--often able to communicate with him while others are not. Her friends notice a happiness in her they haven‘t seen in years. Then her poet boyfriend returns. Protests her relationship with Feisto-- follows them around town secretly observing them together. Makes phone calls to uncover information concerning Fesito’s true identity. Then ends up in a bar, getting drunk. Finally, while recovering from a nasty hangover realizes he’s wrongly been forcing himself into fulfilling rolls and job titles, instead of seeking his true nature and abilities. He begins writing the story of Feisto and this renews and inspires him to a deeper understanding that unblocks his writing. He’s finally able to accept Feisto for who he is.

Now, transfer these lessons, illustrated by a few peoples lives, onto all real life male-female inter-relations in this country ( in the world), and see how freeing the women of expectation and preconceived rolls also frees the men to create, unburdens them from provider rolls. Other lessons also become apparent--that real healthy relationships and learning, results when all find ways to be themselves and support each others true endeavors. You can’t change people, only by being true to yourself do you show others the way. Power comes from the people we chose to be with.

The film was actually shot in the 1980’s, with Linda Mac doing the camera work, but only recently Frank Moore edited and added in the sound track, which includes some music by Walter Funk and others, and colorful animated film titles by Michael LaBash.

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Last modified November 7, 2002