The cowboy's clothes which are the basis of this story are similar to those seen in the previous example. They reflect the fashions of the time - perhaps a little too closely for lasting appeal. They also seem to be suggestive of wealth and a 'flamboyant' character. However, in this era cowboy heroes seen on film and TV, like Roy Rogers and Gene Autrey were always immaculately dressed like this and invariably stood for high moral values. This rather nice double bondage finale thus symbolises the (rather smug) triumph of good and decency, which tells you quite a lot about Tom's character at the age of 47.
but even in the 80's Tom's cowboys were still very neatly dressed.
This thief lingers to try on the outfit and is spotted by it's owner who gives chase and punishes him with a spanking. I say thief, but to be fair there is a degree of ambiguity in this story, where the offenders guilt is implied by him bolting when challenged. His terrified flight from the naked man he was admiring but a short while before is a masterpiece of irony and full of overtones about acceptance of one's sexuality and discovering the true nature of man to man sex.
The setting for this scene is a beach fringed by a wood which invokes a typical gay cruising ground and the easy pickings of unattended belongings in these places frequently attract thieves. The dunes in Gran Canaria have their own resident thief who regularly appears to steal the bags of men engaged elsewhere. We can only speculate as to whether Tom ever experienced this himself but interestingly this same storyline is revisited by him later in the 60's and developed further for Kake 2&5.
Tom's 70's output (with some notable exceptions) mostly consists of arty explorations and innocuous sexual encounters, including most of his middle series Kake (Nos 10-20), but in 1977 he produced the 'Locker Room Thief' series. Once again it's leathers being stolen but the intimate setting of a changing room gives the robbery the same deeply invasive character as the bedroom-burglar scene above, rekindling the same sense of affront and vulnerability.
The naked owner emulates his 60's predecessor, having no hesitation in tackling the fully-clad thief and making sure he doesn't stay that way for long. What follows is a ferocious belting and sexual humiliation before the offender is contemptuously cast out onto the street, into the gutter, with his jeans flung after him – not even kept as a souvenir by the intended victim. It's a powerful expression of anger and contempt, but interestingly, for this very reason it does not quite achieve the same inspirational impact as the 1961 picture. What it does do, is to hammer home the good vs bad morality which I pointed out for earlier works in this article.